If there is one overarching characteristic whose importance precedes that of all the characteristics listed in this article, it’s that every image needs to have a purpose. The image should tell a story or capture a unique moment in a meaningful way. If you comb through your portfolio and find yourself wondering why you captured a particular image, then there’s a good chance it’s lacking some or all of the following characteristics.

While it is highly unlikely that a given image (even an amazing photo) will include all of these characteristics, try to combine as many as possible and always keep composition in mind.  Without any further delay, here are 10 Characteristics of Great Photos.

10 Characteristics of Great Photos

1 – A Good Photo Has a Compelling Composition

Most basic photography guides include common compositional concepts like the rule of thirds and rules of symmetry, but what other techniques can we use to create compelling compositions? Some less common techniques involve negative space, leading lines, depth of field, and framing. I mention this rule first because it doesn’t matter which particular style, technique, or rule you follow, so long as every image is thoughtfully composed. There will be times when composition takes a back seat in order to just grab the shot, but it should otherwise be considered whenever possible.

The image above uses one of the most common compositional rules, the rule of thirds, in two ways. First, the dunes occupy two-thirds of the image horizontally, leaving the sun & sky to fill the final third. Secondly, the couple has been placed near the upper left intersection of the horizontal and vertical thirds. Although the rule is commonly practiced, this image exemplifies why it is so effective, especially in this scene from Dubai.

The image above features the dynamic symmetry of continuous spiral, which is often found in both nature and architecture. There are mathematical equations concerning ratios that explain in technical terms why this is pleasing to the eye, but it’s easy enough to notice how the lines effectively lead to the subjects, who’ve been placed in the lower left third of the image. Of course, the dramatic lighting also plays a role in minimizing distractions and drawing the viewer’s focus to the brightest part of the photo.

The photo above features several compositional components, including leading lines, the rule of thirds, and unique framing. The leading lines in the scene draw the viewer’s eye to the couple, who occupy the space framed by the walls on either side of the walkway at the Disney Concert Hall in Los Angeles. In addition, the entire composition is framed using thirds, the left third where the couple resides, and the right two-thirds occupied by the wall and leading lines. The couple’s reflection in the wall on the right also adds a sense of (nearly symmetrical) balance to the image.

Framing is key in the image above, as the couple is framed inside of multiple layers of squares. They’ve also been placed at the intersection of the lower left thirds, and lighting has been used to draw focus to the couple.

In the image above, bokeh, which basically refers to the out-of-focus parts of the image, works in tandem with a shallow depth-of-field to separate the subjects from the background (and in the case of this shoot-through, the foreground as well). The subjects occupy a very narrow margin of space that remains in focus, which also happens to reside in the lower-right third of the image.

Here, we have a great showcase for the power of symmetry. The couple has been placed on the apex of the triangular rock formation in the foreground, creating the first layer of symmetry. The mountain range in the background also adds to the symmetry of the image in that it echoes the triangular shape in the foreground while also providing its own symmetrical element.

You can find more information on composition and how to combine compositional elements here.

2 – Display Of Emotion Can Create a Good Photo

As human beings, we are drawn to emotion. Whether we’re laughing or crying, emotion ties each and everyone of us together. Images that capture genuine displays of emotion often prove timeless, and these meaningful moments will always capture the audience’s attention.

The image above was captured during a Vidaai, which marks the end of the Hindu wedding ceremony and the beginning of the bride and groom’s journey as husband and wife. Vidaais can be intensely emotional as the bride’s friends and family wish her farewell (as illustrated above).

On the flipside of sad emotions, genuine happiness also effectively connects viewers to the subjects in images. Usually, the more candid and natural the capture appears (even if it was actually directed), the larger the impact of the image.

3 – Storytelling Makes a Good Photo

Some of the greatest images simply tell a story. Rather than relying on great composition or featuring other unique characteristics, they instead focus on storytelling. Some of the best storytelling images are found in the news and other sources of photojournalism. From the triumphant shout of a newly crowned sports champion to a protester standing in front of a tank in the Tiananmen Square massacre, these images capture and freeze moments in history for everyone to become a witness. Here are a few examples from weddings we’ve photographed.

You can almost feel the anticipation in the air as the bride’s father walks her down the stairs to the ceremony site at Malibu Rocky Oaks. From this unique perspective, you can see the story unfold as the bride’s family, friends, and groom-to-be anxiously await her arrival.

What is bride prep without a little help from the bride’s friends or family? Here, an ensemble cast of bridesmaids admire the bride’s beauty from all angles while helping her with the final touches in preparation for her big day.

For wedding photographers, the first look at the altar offers a perfect opportunity to capture the anticipation and surprise of the bride and groom seeing one another for the first time on their wedding day (depending on whether or not they did a first look earlier in the day). It’s one of the staple moments of the entire day.

4 – Elliptical Storytelling

Most images that tell a story are already worthwhile, but images that tell stories while leaving something to the viewer’s imagination are even better. You’ve probably heard people say that the book is always better than the movie because it allows us to use our imagination to create the most amazing and personalized special effects in our minds. Images that leave something to the imagination tend to do the same thing. They offer just enough information to fuel our imagination as we fill in the missing pieces.

This image was shot at a local airport during an engagement shoot. While we can’t be sure of the subjects’ identities, we’re given enough clues to imagine they’re embarking on a long-distance trip. We don’t know where they’re going or under what circumstances, but that’s also why the image works so well. The limited clues let you imagine the rest.

We’re given very few clues to determine the situation in the above image, but it’s enough to allow for creative speculation. The close proximity between the subjects implies a close relationship, and the style of the shoes and wardrobe combined with the graffitied background lend an urban feel to this untold story.

5 – Iconic Moments Make Good Photos

When capturing an iconic moment, you are capturing a moment created or modeled after meaningful moments in pop culture and/or history. Whether it is a reproduction of a scene from a classic movie or a moment based around something trendy, these shots allow the audience to feel emotionally connected to the moment within the imagery.

While James Dean never rode a motorcycle in his movies, plenty of photos exist of the star as he sits atop an old Triumph, exuding the cool guy, rebel persona he’s often associated with. In the James Dean-inspired shot above, viewers are transported back to the era of cool as we spy a glimpse of a couple in the rearview mirror, just before they ride off into the sunset.

The couples portrait above recalls the golden age of Hollywood through its use of dapper outfits, editorial posing, dramatic lighting, and on-set props (like the retro-style light, which was part of the decor in a room at the Hollywood Roosevelt Hotel).

6 – A Good Photo Often Captures Unique Moments

What’s an easy way to create an interesting image? Simple, shoot something that is unique to the respective audience. For example, while a Christian wedding may seem quite common in the United States, a traditional Hindu wedding isn’t so common and therefore is automatically more interesting to an audience in the states. Other unique moments might reveal themselves during unusual events or at one-of-a-kind locations.\

During his pre-wedding baraat, a Sikh bridegroom peeks through the strands of his Sehra to take in the sights. While baraats are quite common in Hindu and Sikh weddings, they’re unique to those who’ve never witnessed them. In addition, the ornate and colorful clothing worn by most in attendance make for unique photos.

It’s not often that you get to capture family portrait framed under a spectacular fireworks display. The image above took place outside the venue during a wedding reception and used a backlight to separate the family from the background.

You can find more tips on how to capture portraits under fireworks here.

The image above was captured at sunset just after the clouds began to clear at Malibu Rocky Oaks. By using off-camera flash to highlight the couple, we were able to capture a unique couples portrait in an environment whose look and lighting changed by the minute.

You can see how we captured the image above here.

7 – Juxtaposed/Contrasting Concepts

Some of the most interesting images juxtapose (compare) completely contrasting objects and concepts. Examples of this might include a beautiful bride in a completely white and flowing wedding dress shot in front of a background littered with trash and graffiti, thus juxtaposing beauty and purity with ugly and uncleanliness. Or perhaps a homeless person downtown sitting with all of his belongings with a glowing Merryl Lynch sign in the background, contrasting utter poverty with a symbol of wealth and power. See the images below for more examples.

You might be wondering what’s going on in this image. We’re looking out from a makeshift shanty in downtown Los Angeles. This might not be the first place one would imagine using as a backdrop for an engagement portrait, but it aligns with the urban engagement theme and presents a unique setting for lighting and framing the couple.

The image above was shot at the Long Beach Performing Arts Center against a graffiti-esque wall mural. The dapper wardrobes of the bride and groom in this editorial style shot contrasts well against the painted background.

8 – Unique Lighting and Color Can Make a Good Photo

Lighting and color is really where a lot of great images start. Great lighting can turn a mundane scene into an amazingly colorful scene full of texture and life. In nature, these types of scenes happen all the time during sunrise and sunset, and while we can’t control the lighting of those fleeting moments, if you happen to be in the right place at the right time, you just may be able to capture it (see point number six above). However, we can control and create unique lighting on our own with the proper knowledge using off camera lighting, flashes and more.

The image above was created using a whip pan technique, which can be used to add dynamic motion with shutter drags (long exposures). While the backdrop in this image was already appealing, the added light technique makes this portrait standout from others captured in this same location.

By lowering the ambient exposure in-camera and illuminating the couple with off-camera flash, we were able to capture this unique couples portrait under the beautiful Arizona sky.

Silhouettes are backlit images that are easy to capture and can help you create a good photo. In the image above, captured in the dunes outside of Dubai, we placed the subjects directly in front of the setting sun and lowered our exposure to reveal the outline of the couple riding a camel across the sand. White balance also plays an important role in this image as it adds a desert feel with the bright orange sky.

9 – Attention To Detail

In our time and society where everything is about speed and efficiency, images that capture overlooked detail can be enough to make someone stop to smell the roses. While pictures of unique and unseen detail is amazing and breathtaking, you can often get the same reaction out of your audience by simply shooting the detail in everyday life.

This detail image of a bride’s shoes was captured on a hotel tabletop during a wedding in Huntington Beach. The dramatic lighting and reflective surface elevate this photo to a product shot you might expect to see in an ad for the shoes.

While they’re often used to photograph flowers and insects, macro lenses open up a world of possibilities for photographing all kinds of tiny objects, including wedding rings (as seen in the image above). The best part is, aside from purchasing a macro lens, you can use inexpensive lighting to get your desired look.

In the image above, an Indian bride takes a brief pause before heading out to the ceremony site. The ornate dress and accessories, as well as the henna on the bride’s hands and arms, are packed with detail and deserving of a closer look.  A good photo is sometimes one that’s zoomed in tight on the details.

For more information on how to photograph details like those featured above, see our Photographing the Groom and Photographing the Bride wedding workshops.

10 – Unique Perspective

Most of us live our lives viewing the world with relatively the same perspective. This is what makes unique perspectives so interesting to the audience. Instead of shooting a child from an adult’s perspective, why not get down low and shoot them from the child’s perspective. Very low bottom-up and higher top-down can often create a much more unique and interesting image.

This image was shot during an event as some of the kids were having a little party of their own. What better way to shoot kids, then to shoot it from their perspective. You can imagine how this shot wouldn’t be nearly as special were it shot from a standing (grown up) perspective.

No drone was needed for this overhead photo of a bride and groom dancing in the rotunda at the Monarch Beach Resort. Whether you have to use a drone, balcony, or even an extended monopod, capturing your image from a higher perspective can elevate your image and help you create a good photo.

The image above was shot from a low angle to capture this unique perspective and show the beautiful background above the couple. Remember that backgrounds can be above or below you!

In this portrait taken at the Bonneville Salt Flats in Utah, we’ve used a wide aperture panoramic stitching technique called the Brenizer Method to showcase the couple. Without using this technique, it would be difficult to capture this large of a frame with such shallow depth of field.

We discuss this technique more in-depth in our Panoramic Stitching Workshop.

Conclusion

We hope you enjoyed this article! If so, please share this article to show us your love! Also, please add your additional ideas on creating great images in the comments below.

Get Your Equipment in Order

The first step in our how to become a sports photographer guide is to get the right camera gear.  You’ll want to look for a DSLR or Mirrorless for sports photography as there are plenty of affordable options on the market and you can swap out lenses quickly.

Depending on the sport you plan on shooting, you’ll need a few different lenses in your kit. A “fast” lens (f2.8 or faster), is always good to have on hand, as these let in more light than standard lenses and are great in low-light situations. If you’re shooting sports from a distance, then you’ll also need a quality 200m or 300m telephoto lens. And then a nice Wide-angle (24-70mm) or Fish-eye to get those epic up-close action shots or super-wide “WOW” moments

These lenses are significantly heavier than most standard lenses, so you’ll need to buy a monopod or tripod to make sure your shots are stable.

You’ll also need to have multiple memory cards to hand, so make sure you have at least two 32GB memory cards in your kit. Depending on the sport you want to shoot, you may need more, and if you’re using a larger sensor sized camera, you’ll need more or larger cards again still! It’s always better to have spares and not need them to end up running out of space on a shoot!

[Related Reading: Best Camera For Sports Photography | DSLR & Mirrorless]

Knowing the Game

If you want to become a sports photographer, you may already have an idea of the sport/s you want to shoot. Regardless of if you’re a fan or a sportsperson yourself, you need to brush up on the rules and understand the timings of matches, rounds, and games. It can be helpful to rewatch sports online to get an idea of tactics and formations, too.

Before you start looking for jobs, you should go to different games of your chosen sport/s and do some test shots so you get a feel for the action and find what works for you. Don’t be afraid to try different angles to what you’ve seen online and play around until you find your style. However, you should avoid reviewing your shots while you’re on location as it could lead to you missing a key part of the game.

Knowing Your Camera

Having a strong technical knowledge of your camera’s settings is key to capturing clear sports shots. Knowing the apertures of your lenses and understanding how that affects your shots is vital, as is understanding how each of your camera’s settings changes the outcome of a shot.

Increasing your shutter speed to 1/500 or even 1/1000 can significantly help in getting crisp shots of subjects in motion, but as with all aspects of photography, it’s worth testing your settings to find the best results.

If you’re photographing indoor sports, then you should adjust the white balance on your camera to make sure that your shots don’t become yellow-tinted from the fluorescent lighting. Again, you’ll want to experiment with your settings to see what balance works best for you.

You should also get used to using burst mode on your camera. As you already know, sports games are fast-paced affairs, and burst mode can help you to capture a perfect shot during a short window of time. If you’re using burst mode, make sure that you have at least one back-up memory card to hand, as this can fill up your storage quickly.

Something else to keep in mind is the low-light capabilities of your camera, some situations will require you to push that iso well past 3200, so be sure to get a system that has a great low light sensor that can keep up with the shifting requirements of the events you’re at.

[Related Reading: 3 Custom Camera Settings for Wildlife & Sports Photography]

Getting Jobs as a Sports Photographer

Once you’ve done a few test shoots and you’ve learned more about how to get great quality sports shots, then it’s a good time to start hunting for some paid work opportunities.

Unfortunately, as a new photographer, this might mean taking on unpaid or volunteer work to get your name out there. Offering your skills to a local youth club, shooting a charity game, or even volunteering as an assistant for another sports photographer can be a great way to improve on your skills and network with other photographers.

The key here is practice! Even without an “official” assignment, it’s great advice to cover every game / sport as much as you can, so even taking shots at a local park’s pickup game is a great place to start building your portfolio out and learning how & when the magic moments are going to happen.

You could also take a course at your local school, college, or community center, which will help you meet like-minded people and learn more about photography. It’s also worth taking a course in photography post-production software like Photoshop and Lightroom, as this will help clean up your best shots for publication.

On the subject of publication, it’s also a good idea to start a blog, Instagram account, or online gallery to display your work. Not only can this act as your online portfolio, but it’s a great way to start networking with other photographers and learn more about the industry. It’s important to have a healthy mix of an updated website/portfolio along with an active social media feed like Instagram, Twitter, and TikTok.

Lastly, and probably the most important, is always be polite and professional! While having all the gear and skills needed to capture a great shot is important, it’s also important to be reputable! Maintaining a punctual, professional, and “nice” reputation will get you a lot further with your career than you’d think! Putting all these things together will help get you started on the path of photographing sporting events and capturing some epic images! As usual, if you have any tips be sure to add them in the comments below, and if you’re shot sporting events, be sure to share some of your images as well!

Why would you want such a large, heavy, fast lens? There are many reasons, and we’ll talk all about them in this review. However, there are also plenty of reasons why you might want to avoid it, too. We’ll expand on those reasons, too.

To spoil the ending, here’s the biggest thing you need to ask yourself when deciding whether or not this lens is right for you: Do you absolutely need an aperture e that is just ONE HALF of a stop faster than f/1.4? Because if not, there are innumerable 35mm f/1.4 primes out there that would really suit you much better.

Make no mistake, the Sigma 35mm f/1.2 DN Art is incredible, and has almost everything, going for it when you use it at f/2.8, or f/2, or wide-open… Honestly? Besides a little bit of pixel-peeping at f/1.2 , it’s a phenomenal lens all around!

But again, there are just so many other 35mm f/1.4 and 35mm f/1.8 primes out there, many of which are extremely high-quality, too. Even Sigma’s own 35mm f/1.4 Art is an incredible lens, and significantly lighter, smaller, and more affordable than this f/1.2 Art.

So, that’s why it really all comes down to this: “How badly do you really want f/1.2?”

So, without any further ado, let’s dive in! This review is about an f/1.2 prime. If you’re not here for the big one-point-two, you have been warned! This lens is heavy, huge, and very expensive. Let’s find out who might be interested in it, and why…

Sigma 35mm f/1.2 DG DN Art  Specifications

• FOCAL LENGHT & ANGLE OF VIEW: 35mm (63.4°)
• LENS MOUNT(S): Sony E-mount (FE full-frame)
• APERTURE RANGE: f/1.2 to f/16
• STABILIZATION: No
• AUTOFOCUS: Yes, ultrasonic ring-type
• MANUAL FOCUS: Fully electronic, no distance or hyperfocal scales
• OPTICAL CONSTRUCTION: 17 elements in 12 groups, 3 aspherical, 3 “SLD” elements
• MECHANICAL CONSTRUCTION: Metal, some weather-sealing, Fn button, Aperture ring (de-clickable)
• MAGNIFICATION & FOCUS DISTANCE: 0.19x magnification, 11.81 in (30 cm)
• FILTER THREADS & HOOD: 82mm filter threads, plastic, gripped hood with click-lock mechanism
• SIZE: 3.46 x 5.36″ / 87.8 x 136.2 mm
• WEIGHT: 38.45 oz / 1090 g
• PRICE: $1,499 (B&H)

Sigma 35mm f/1.2 DG DN Art Review | Who Should Buy It?

This bears repeating: You must REALLY want f/1.2 if you’re thinking about buying this lens. The competition from f/1.8 and f/1.4 primes is just too good for there to be any other reason to buy the Sigma DG DN Art.

In fact, the competition is often much more well-suited for many types of photography, too, if portability and compactness matter at all to you. Here are the reasons you might want this lens for certain types of photography…

Portrait Photography

Portraits are all about shallow depth, (to many photographers at least) and sometimes you can never have enough of that smooth, creamy background blur, AKA, bokeh.

While you might feel like f/2.8, f/1.8, or f/1.4 offer more than enough background blur at focal lengths like 70-200mm, 85mm, or 50mm, here’s the thing: Once you get to 35mm, due to the wider angle, depth of will appear less shallow. In other words, a 35mm f/1.4 prime has effectively less shallow depth (DOF) than a 50mm f/1.4 prime does.

That is why f/1.2 at 35mm will allow you to achieve a whole new level of blur, one that really gives viewers a unique experience. Simply put, at a wider angle that can capture a whole scene, people just aren’t used to seeing this much blur, so it looks really interesting when you do achieve it…

Above you can see a comparison between the shallow depth, and bokeh, of the common apertures: f/1.8, f/1.4, and f/1.2. Note that not only does the blur increase in significance, (that’s the DoF) but also, the actual character of the blur itself can appear softer or harsher, too. (That’s the bokeh) With softly lit, smooth-shaped subjects, bokeh can appear homogenous, but in the harsh sun, and with complex textures or spectral highlights, you can often notice that some bokeh characteristics are distracting, while others are flattering.

With that in mind, the Sigma 35mm f/1.2 Art exhibits not just extremely shallow depth, but also flatteringly smooth bokeh even when facing challenging light and textures.

So, if you do a lot of portraits and you love to work with EXTREMELY shallow depth, and you also like to capture a wider scene than most traditional “portrait lenses” allow, you might consider this lens to be a holy grail.

Having said that, there is a huge caveat: achieving sharpness on more than one face at f/1.2 is extremely difficult, even when you’re doing full-body portraits from a distance. So, if you do family or group portraits, you’ll find yourself shooting from a tripod and very carefully lining up everybody in a single row, otherwise, some faces will be out of focus. Of course, when you get even closer, you might not even get both eyes of one subject in focus, so, beware! A lot of group portraits just aren’t practical to be captured any faster than f/4.

Wedding Photography

With wedding photography, on the one hand, there is often a need to work in extremely low light where every fraction of a stop of extra shutter speed you can coax out of your camera & lens combination is helpful.

On the other hand, though, many of the candid and portraiture situations on a wedding day are not practical or feasible at f/1.2. Many times, you’ll need more depth of field than f/1.2. Also, you’ll often be trusting your lens to nail focus on active subjects in such terrible light, which this Sigma is unfortunately not the best at, comparatively speaking. Lastly, each big, heavy lens you have in your bag at a wedding means you’re getting closer to spending the entire 10-12+ hour wedding day with that much weight and strain on your back, neck, shoulders, arms, wrists, and/or fingers.

Personally? At weddings, the whole reason I reach for a 35mm prime instead of my 24-70mm is that I’m sick of hand-holding such a heavy f/2.8 zoom for hours on end. In fact, if I could, I’d photograph the entire wedding with just a 35mm f/1.8 and an 85mm f/1.8, and only reach for a 24-70mm or 70-200mm when I absolutely need the additional range.

To be honest, I don’t actually need to go THAT much faster than f/2.8, either. So, as much as I love bokeh, I’m happy with f/1.8 primes in most situations, and certainly with f/1.4 primes.

Plus, having a “tiny” prime lens allows you to get more personal with shy subjects, whether adults or children, and the 35mm f/1.2 is certainly the exact opposite–it is an intimidating, conspicuous piece of glass to stick in anyone’s face, especially during an intimate, emotional moment.

But, what about those really dark churches or the pitch-dark reception halls? Well, I wanted to be able to say something definitive about this, so I actually went and looked through a few thousand photos from my archives that a few different photographers at our wedding photography studio captured with various 35mm primes over the last few years. And you know what? Virtually all the images I saw revealed a clear truth: The light levels aren’t really that low. Most churches are actually decently lit. Therefore, F/1.4 or even f/1.8 are certainly more than enough, at least 99% of the time.

Fashion & Editorial Photography

You might not need to shoot at /f1.2, but if you like big, impressive-looking lenses that make a statement, and give you incredible image quality at all apertures, you could certainly consider this lens.

You’re more likely to be working at apertures from f/4 to f/8, though, for more commercial types of portraits, because ultra-shallow depth is usually less desirable for many types of work, and to be quite honest, by the time you get to f/4 or f/5.6, the sharpness of this lens is virtually indistinguishable from some of the incredible modern zooms, such as the Sigma 24-70mm f/2.8 Art, or even the modest but near-perfect primes such as the Sony 35mm f/1.8 G.

[Related Reading: Sigma 40mm 1.4 Art | Hands-on Review]

Candid & Street Photography, Vacation & Travel Photography

You could not pick a more conspicuous, intimidating 35mm prime for anything resembling casual or candid photography. This is not an everyday walk-around lens, it is not even an ideal once-in-a-lifetime family trip to Disneyworld lens.

Do you want your subjects to be at ease, even when you’re getting closer to the emotional moments and faces you’re capturing? Go with a much more modest lens like the Sony FE 35mm f/1.8 G, or the new Rokinon/Samyang AF 35mm f/1.8 FE. They’re very sharp even wide-open at f/1.8, and they’re much better suited to such work with their diminutive size that will let you click away almost unnoticed.

Action Sports & Wildlife Photography

Sometimes, speed is the name of the game. Shutter speed, that is. And a faster aperture can help you get that faster shutter speed, especially if your ISO is already as high as you feel comfortable going.

So, if you need every last bit of shutter speed you can possibly muster, then you might be tempted to go with as fast a lens as possible. However, going all the way to f/1.2 could be a mistake, because the shallow DOF it renders is going to be very unforgiving in most action sports scenarios. You’re very likely to have trouble when pre-focusing and nailing the shot right as the subject passes through your plane of focus, or when tracking a moving subject with autofocus.

All in all, our opinion is, don’t invest in this lens for any type of action photography purely for its aperture speed, unless you really know what you’re doing, such as, trying to photograph or film wildlife or sports by moonlight or something.

Landscape Photographers

Landscape shooters typically spend most of their time at f/8 or f/11 for landscapes, of course, and don’t need f/1.2 at all. However, sometimes the fastest primes are also the sharpest when stopped down. Unfortunately, this is not entirely the case with the Sigma 35mm f/1.2, although it’s pretty close.

Long story short, you’re going to see equally sharp images (and actually slightly sharper extreme corners) with the Sony “G” alternative, or the Tamron SP 35mm f/1.4 which has the sharpest corners of any 35mm prime we’ve ever seen.

Nightscape & Astrophotographers

A moonless night with a starry landscape is one scene where f/1.2 can really come in handy. Whether you’re capturing still images and avoiding star “movement” due to the earth’s rotation, or you’re actually filming video by moonlight at 1/30 sec or so, the Sigma 35mm f/1.2 DN Art could very well be your holy grail.

NOTE – To All Types Of Photographers & Videographers:

If you’re going to be doing any type of photography at f/1.2, then for bright daylight conditions you might want to buy a neutral density filter. Most cameras’ lowest native ISO is 100, and their highest shutter speed is usually 1/8000 or 1/4000, therefore, you flat-out won’t be able to expose lighter-toned subjects in full sunlight at f/1.2 with those constraints.

Let alone, if you want to do flash photography at your camera’s max sync speed, such as 1/200 sec or 1/250 sec, or shoot video, with shutter speeds around 1/60 sec. you’ll DEFINITELY need to get a neutral density filter.

We recommend a variable ND filter in the range of 2-5 stops like the PolarPro Peter McKinnon VND ($299, B&H)  for most types of still photography, or a “super dark” or a variable ND in the range of 5-10 stops like the Syrp 82mm Super Dark VND ($209, B&H) if you’re hoping to film video in bright conditions at 1/25 or 1/30 sec shutter speeds.

Sigma 35mm f/1.2 DG DN Art Review | Pros & Cons

Let’s outline the pros and cons right away, and then dig just a little deeper for the ones that aren’t self-explanatory. Well, actually, they’re all pretty self-explanatory…

Pros

• It’s f/1.2!
• Incredible image quality
• Solid build quality
• Decent autofocus speed, good precision
• Customizable Fn button
• De-click-able Aperture ring

Cons

• Size & weight make it the most unwieldy 35mm prime available
• Copious glass means autofocus speed & precision slightly less than the competition
• Aperture ring does not have a lock switch
• 82mm filter threads
• Price/value compared to other 35mm primes

Simply put, aside from the complaint of the aperture ring being easy to bump away from “A”, (and then you’re suddenly shooting at f/16 instead of f/2 or whatever) …the entire list of cons basically hinges on this one issue: do you care if a lens is rather large, very heavy, and/or twice the price of competitors that offer just as good image quality at equal apertures besides f/1.2?

Because, if you don’t mind the weight and you have the money, and you really want f/1.2, then there’s not much else holding you back. That is, unless you want to pixel-peep in the extreme corners of the image when using it for astrophotography.

Of course, if you’re already a fan of Sigma’s fastest, most exotic lenses, then you’re probably no stranger to shockingly oversized optics. Sigma made heads turn when they debuted their 105mm f/1.4 Art, which was so big it required a tripod foot, had 105mm filter threads, and a style of clamp-on cylinder hood that is normally reserved for giant 300mm f/2.8 “big gun” super-telephoto lenses.

Whether or not you decide it’s worth it is going to come down to whether or not you’re truly pushing the envelope of what is possible with photography. Maybe you’re already at the highest ISO you feel comfortable using, and the slowest shutter speed you can afford to choose without risking blur, and yet you still need even more light. Or, maybe you’re just totally obsessed with ultra-shallow depth.

Either way, f you’ve never felt these constraints, then you’re probably much better off going with a different option. We’ll get into alternatives below.

Image Quality

Let’s just lump every aspect of image quality all together into two categories: For virtually every kind of photography, image quality could be considered either very impressive, or downright perfect. Even wide open at f/1.2, most of the image is quite sharp, though not perfect. By f/2 and f/2.8, the sharpness is more than enough for a 60-megapixel camera, and probably ready for more. (For the center of the image, I didn’t even bother testing past f/2.8, it was so sharp!)

Colors, contrast, flare, sunstars–it’s all gorgeous and beautiful. Vignetting, distortion, color fringing, aberrations–it’s all minimal, or nonexistent, especially when you get to f/2 or so. Of course, you get some vignetting at the faster apertures, and it’s pretty significant at f/1.2, but it’s a gradual, pleasing look that most portrait shooters will appreciate, and is mostly corrected by the in-camera profile.

The only genre of photography where image quality needs to be scrutinized is astrophotography, where things like coma and astigmatism and extreme corner sharpness come into play. Because, unfortunately, the Sigma 35mm f/1.2 Art falls short of its nearest rival, the Tamron SP 35mm f/1.4 Di USD.

The Sigma, at f/1.2 through about f/2.8, has faint blooming of pin-point light sources, such as stars, even in the center of the image, plus, both coma and sagittal astigmatism in the corners until f/2.8. The Tamron, on the other hand, renders pin-point light sources surprisingly perfect wide-open at f/1.4, and has virtually no coma or astigmatism at f/1.4, and far less at f/2 than the Sigma has at f/2.8.

The bottom line is, if you’re shooting astro-landscapes, and thinking that f/1.2 might be really nice, you will be forfeiting a bit of crisp detail in exchange for the added half-stop of brighter exposure. The decision is up to you.

Design & Durability

Aside from the image quality, we almost don’t need to spend much time talking about the rest of the pros and cons of the lens. It’s built to Sigma’s professional-grade “Art” lens standards, meaning no compromises. The hood is a fancy click-lock one like on most flagship 70-200mm f/2.8 lenses. The side of the lens barrel is adorned with the AF/MF switch, a customizable Fn button, and an aperture de-click switch for video shooters, although there isn’t a fully locked option to keep the aperture in it’s “A” position, as I mentioned earlier.

Autofocus & Manual Focus Performance

Autofocus is fast, for an f/1.2 lens. However, there is just so much glass to push back and forth in such a lens, you’ll get more snappy results if you use a similarly cutting-edge optic with a smaller aperture, such as the Sony 35mm f/1.8 G. Either way, your decision on whether or not to buy this lens likely won’t hinge on autofocus precision; in other words, you know what you’re getting yourself into.

Size & Weight | So, Just How Big Is This Thing?

We’ve already made it clear that your decision to invest in this lens will hinge on whether or not you’re OK with the size and weight.

Long story short, the price and half-stop of aperture might not be worth it if one of the main reasons you like primes is to have a highly compact alternative to big heavy zoom lenses. This prime is literally the exact opposite of that.

So, just how big is this thing? Here are some comparisons. As you’ll see, we aren’t exaggerating: this thing is, in fact, one of the biggest, heaviest lenses ever to be made in the “normal” focal ranges…

Mirrorless/E-mount Lenses:

• Sigma 35mm f/1.2 DG DN Art = 1.09 kg (2.4 lb)
• Sigma 24-70mm f/2.8 DG DN Art = 0.835 kg (1.84 lb)
• Sony FE 24-70mm f/2.8 GM = 0.886 kg (1.95 lb)
• Sigma 14-24mm f/2.8 DG DN Art  = 0.795 kg (1.75 lb)
• Sony FE 135mm f/1.8 GM = 0.95 kg (2.09 lb)
• Sigma 85mm f/1.4 DG DN Art = 0.625 kg (1.38 lb)
• Sigma 35mm f/1.4 DG HSM Art (Sony E) = 0.755 kg (1.66 lb)
• Rokinon AF 35mm f/1.4 FE = 0.645 kg (1.42 lb)
• Sony FE 35mm f/1.8 = 0.281 kg (0.61 lb)

DSLR Lenses (without adapters):

• Sigma 24-70mm f/2.8 DG HSM Art (Canon) = 1.02 kg (2.24 lb)
• Sigma 14-24mm f/2.8 DG NSM Art (Canon) = 1.15 kg (2.53 lb)
• Sigma 40mm f/1.4 DG HSM Art (Canon) = 1.2 kg (2.65 lb)
• Tamron SP 35mm f/1.4 Di USD (Canon) = 0.815 kg (1.79 lb)

That last lens, the Tamron 35mm f/1.4, is one of the sharpest lenses ever made in the 35mm focal length, (yes, it’s better at f/1.4 in the corners than the Sigma 35 1.2 Art stopped down to f/1.4) …despite being 0.8 lbs or close to 400g lighter.

Below, we’ll include a few more size comparison images and animations. So, to anyone who is thinking, “oh, they’re just complaining, it can’t be that bad!” …simply ask yourself if you’re ready to carry around a prime that’s actually heavier than your 24-70mm f/2.8!

Video & Vlogging Use | Can It Balance On A Gimbal?

Just to give you an idea of how heavy this lens is, here it is mounted on a Weebil-S gimbal. It’s pretty much the max for even this heavy-duty gimbal. Yeah, this 35mm f/1.2 is actually heavier than some of the 14-24mm f/2.8 and 24-70mm f/2.8 zooms out there; that’s hefty!

Value

In terms of value, it’s all about that aperture, once again. No other lens offers f/1.2, so if you want it, you have to pay ~$1,500. In that sense, the lens has value. However, if you’re not 100% certain you need f/1.2, all of a sudden you realize that the competition, at both f/1.4 and f/1.8, is very close in performance, and often half the price or less. We’ll talk about the alternatives at different price points next…

Sigma 35mm f/1.2 DG DN Art Review | Compared To The Competition

In order to talk about other options, we have to play the WHAT IF game. For example, what if you only want to “play around” with f/1.2, and you don’t want an enormous, expensive lens? That’s an easy hypothetical; you can get a cheap, almost “toy” lens like the SLR Magic Cine 35mm f/1.2 for just $299-399. Their image quality won’t even come close to matching that of the Sigma, but if you’re just looking to casually experiment with ultra-shallow depth and unique bokeh characteristics at 35mm, you could give these two (manual focus) lenses a try.

Alternately, what if you want f/1.2, and you really do care about image quality, but also still care about portability? You could see how good the Voigtlander Nokton 35mm f/1.2 is, for $1999, although we’re quite certain the Sigma is still significantly better.

What if you want autofocus, though? What if, you want autofocus and are willing to forfeit f/1.2, but you still want good image quality? Some older 35mm f/1.4 primes have a lot of character, with beautifully smooth bokeh, like the Sony ZA (Zeiss) Distagon 35mm f/1.4, if you’ve got ~$1,600 to spend. There’s also a few other third-party alternatives, from the Rokinon/Samyang AF 35mm f/1.4 FE’s, ($499-799) …to the Sigma 35mm f/1.4 Art ($799-899), the former being “decently sharp”, and the latter being truly impressive.

Last but not least, if you’ve somehow stumbled into this review looking for primes that are both affordable and “tiny”, and you somehow haven’t stopped reading this review even though you already know it’s not the right lens, then, here are the actual lenses for you: A Sony FE 35mm f/1.8, for $749, or the new Rokinon/Samyang AF 35mm f/1.8 FE, for just ~$399. Both lenses are downright tiny by comparison to most all other primes, the Sony being just slightly larger and (as the price reflects) both sharper and more well-built, whereas the Roki-Yang 35mm truly is the tiniest, most portable (autofocus) 35mm prime around.

Oh, unless you want something even tinier, and aren’t going to scrutinize the image quality at all, in which case the Rokinon/Samyang 35mm f/2.8 is just $239 when it’s on sale down from ~$400.

That’s about it! There are a lot of other lenses, but at this point, I’m assuming that you’re still reading for at least one of a few reasons. You’re either determined to reach f/1.2, or you’re very interested in maximum image quality, and likely also autofocus.

Just as an exercise, here’s one more “what-if” scenario, because so far we’ve only been talking about 35mm prime lenses exclusively: Let’s say you don’t mind large lenses, and you also have exactly $1,500 to spend, BUT, you also don’t need f/1.2, AND you’re not necessarily attached to the idea of a prime lens.

Instead of this one 35mm prime, you could get BOTH a Sigma 24-70mm f/2.8 DN Art for $1,100, and the new Rokinon/Samyang 35mm f/1.8 for just $400. When you need “insane” image quality from f/2.8 onward, the Sigma 24-70mm f/2.8 DN is both incredibly sharp wide-open and a bit lighter than the 35 1.2. Then, when you want to keep it casual and reach for a compact prime that allows you to jam your entire camera into a small backpack with all your other family outing necessities, the Rokinon 35mm f/1.8 is a truly tiny “nifty 35” size.

NOTE: Watch Out For APS-C 35mm Prime Lenses!

Other lenses such as the Rokinon/Samyang 35mm f/1.2 ED AS UMC CS lens are NOT full-frame lenses, they’re made for APS-C cameras such as the Sony A6600. There are a few other 35mm prime lenses out there which are APS-C lenses, so look carefully before you buy!

Sigma 35mm f/1.2 DG DN Art Review | Conclusion

[Related Reading: Sigma Art 105mm 1.4 Review and User Guide (Video)]

Sigma really loves outdoing themselves, and one-upping the competition too. In this case, they’ve done both. It’s almost as if they just made the 35mm f/1.2 DG DN Art as an homage to their first full-frame Art lens, the legendary 35mm f/1.4 DG HSM Art, a lens that despite being so old I want to add an “EX” to its name out of habit, is still one of the best 35mm primes today.

In other words, Sigma already accomplished a near-perfect 35mm f/1.4, a milestone in the history of full-frame DSLRs, so they had no choice but to make a 35mm f/1.2 as their first full-frame mirrorless 35mm prime.

Is it the right lens for most photographers? No, but it’s not supposed to be. “Most photographers” should absolutely stick with an f/1.4 or even f/1.8 prime.

Personally, considering how much lighter and smaller the new Sigma 85mm f/1.4 is, with an optical formula made specifically for mirrorless compared to its DSLR predecessor, (it’s a whopping 1.1 lbs or a half-kilogram lighter) …I find myself wishing that Sigma had just made a mirrorless-optimized 35mm f/1.4 instead, and made it smaller and lighter than its DSLR predecessor.

What about you? You know what type of photo/video work you do, and how much you like shallow depth, and/or how much you like to shoot in impossibly dim lighting. Hopefully, you’ve finally decided whether or not to get this lens.

Check Pricing & Availability

The Sigma 35 1.2 Art is available for $1,499 (unless it’s on sale, which it is regularly throughout the year!), and as of this writing, they are in stock on B&H for both Sony E-mount and Leica L-mount.

TTartisan just released an incredibly affordable 35mm f/1.4 Manual Lens for APS-C & MFT systems, with a price point of only $73 USD!

We don’t have a lot of information on this cute little lens yet, but if you’re in the market for a fast prime yet not ready to invest in something more name-brand-priced, this could be a great way for you to test the waters of shallow DOF and beautiful bokeh, even without an expensive full-frame camera…

[Related Reading: Inexpensive Trick to help You Nail Focus on Manual Cameras]

Key Features & Technical Specifications

• Brand – TTartisan
• Compatible Mountings – Fujifilm X
• Max Focal Length – 35 Millimeters
• Focus Type – Manual Focus
• Max Aperture – 1.4 f
• Retro exquisite design, 180g weighs only, compact and portable.
• Use the same style multiple thread which used in high-end lenses
• F1.4 large aperture, strong background blur ability, highlight the subject, it is helpful to reduce the noise of the picture and improve the picture quality when shooting at night
• The perspective close to the human eye which makes the works more full of life smell
• 0.28m minimum focusing distance, showing more details
• Price – $73 – Amazon

At first glance, it appears the TTartisan is probably using some relatively classic, simple optical formula, one that delivers impressive sharpness, and based on the samples we’ve seen from the PhotoRumors Flickr page,  gorgeous bokeh, too. (It’s a really nice touch to see the optical formula itself drawn/etched right on the top of the lens!)

Also, unlike so many of the knock-off or “fake/copy” products we see popping up, this thing looks like it’s made quite sturdily, out of metal, so despite its very budget-friendly price, it might last a long time for any users who take decent care of it.

Considering the extremely low price and diminutive size, in our opinion this looks like a perfect lens to pick up and just toss in your camera bag for some creative shots, even if manual focus primes or ultra-shallow DOF are not your usual creative style. (Most f/1.4 primes cost many hundreds of dollars, and some cost well over a thousand dollars!)

So, if you’re a photographer who just recently purchased a Fuji X-mount camera, or a Sony E-mount APS-C,  a Canon EF-M, or any Micro Four Thirds camera, but you haven’t thought about getting an f/1.4 prime yet because of the price, this could be your chance!

Ultra-Wide FoV & Fast Aperture

All three Laowa cine lenses feature an ultra-wide angle of view and fast aperture. The 9mm T2.9 features an approximate 113° FoV on Super35 sensors while the 15mm T2.1 and 12mm T2.9 feature a 110° and 122° FoV respectively on cameras with full-frame sensors. The fast maximum t-stop is well suited for filming under low light conditions. It also allows filmmakers to have more flexibility in depth of field control.

Close-to-Zero Distortion

All 3 lenses feature the distinguishing Laowa close-to-zero distortion (Zero-D) design where the optical distortion at infinity distance has been compressed to the minimal. This is extremely important for motion picture recording when shooting indoor, architecture, or footage with straight lines included. This also saves a tremendous amount of time in distortion correction in post-processing.

Compact & Lightweight

All three wide-angle prime lenses are extremely compact and lightweight. The 9mm weighs only 0.5 lbs (226g). The 15mm is around 1.2 lbs (540g) and the 12mm is around 1.49 lbs (675g). On the contrary to the huge and heavy wide-angle lenses in the market, the new Laowa cine lenses are extremely handy for run-and-gun productions, shooting with gimbals, FPVs, in-car shots, aerial videography, underwater videography etc.

Close Focusing Distance

All three Laowa cine lenses possess an extremely close focusing distance. This provides a great deal of flexibility for directors to compose shots at any distance. Filmmakers can also take advantage of this close focusing to create some wide-angle shots with shallower depth of field. The 9mm can focus as close as 4.7” (12cm) while the 12mm can focus up to 7.09” (18cm), from sensor to subject. The 15mm instead can focus up to 5.9” (15cm).

Industry-Standard Cinema Lens Housing

The major difference between the new cinema version and the still version is the improved housing. The new cinema lens housing has been designed with details to facilitate filmmakers to shoot with ease. Both the aperture and focus rings have been built with industry-standard 0.8 mod pitch gears for pairing up with follow-focus motors. The aperture ring is now click-less for smooth iris control. Every one of Laowa cine lenses comes with a filter thread for filmmakers to use screw-in filters and mini matte-boxes. The entire lens body is made by premium grade aluminum and build for usage in an extreme environment.

Hassle-Free Transportation

An authentic hard case made by Pelican will be included with the lens to allow filmmakers to travel around for shooting with ease.

A Variety of Mount Options

The 9mm T2.9 Zero-D Cine is also available in Fuji X, Sony E mount, and Micro Four Thirds mount.
The 15mm T2.1 Zero-D Cine is also available in Sony FE mount.
The 12mm T2.9 Zero-D Cine is also available in EF, PL, Sony FE mount.

Laowa Wide Angle Cine Lenses line-up

Venus Optics currently offers four wide-angle cine lenses for cinema cameras with different sensor sizes.

Pricing & Availability

All three cine lenses are currently available to purchase via Venus Optics official website (https://www.venuslens.net/) and authorized resellers. The US price for 9mm T2.9 is $599/pc (ex-VAT), $1,199/pc (ex-VAT) for 15mm T2.1 and $1,499/pc (ex-VAT) for 12mm T2.9. Pricing varies in different countries.

Adorama | B&H | Amazon

Product Shots

9mm T2.9 Zero-D

What is a Telephoto Lens Used for?

Telephoto lenses have a long focal length and are used to bring subjects and far-away scenes closer. They don’t have to be zoom lenses, either – telephoto lenses can be prime lenses with a fixed focal length too.  Just to muddy the waters further, telephoto lenses generally come in three categories:

• Short telephoto – lenses that range from around 85mm to 135mm fall into this category. They are great general-purpose lenses and can be carried around comfortably on a day-long shoot as they are quite light and compact.
• Medium telephoto – focal lengths range from 135mm to 300mm, and they are usually bigger and heavier than short telephotos.
• Super telephoto – these are the big guns! you often see sports and wildlife photographers toting these beasts around. The focal length goes from around 300mm upwards, and these lenses usually come with their own tripod collar because they are so big and heavy.

There are drawbacks to having such long focal lengths, though. The longer the focal length, the less light gets into your camera, and the darker your image becomes. Many telephoto lenses at the bigger end of the scale have a wider maximum aperture to let more light in, but they tend to be more expensive because of the extra optical technology needed to do this.

What Does a Telephoto Lens do to an Image?

In a nutshell, telephoto lenses allow you to zoom in on a subject or scene that is further away from you. They also compress the subject and background, affecting the relative size of your subject. This makes the background look larger and closer than it actually is.

If you shoot with a shallow depth-of-field and a telephoto lens, then the compression will give you a large and smooth bokeh effect in the background.

Best Ways to Use a Telephoto Lens

The main reason photographers use a telephoto lens is so they can get closer to the action without needing to go closer. Because of their size and the way they are built, medium to super-telephoto lenses are expensive and will be a big investment. So you don’t waste precious cash on a lens you will hardly use, it’s a good idea to figure out if you will get your money’s worth out of it before you take the plunge.

Here are some of the reasons to shoot with a telephoto lens:

• Professional wildlife and nature photography where you need to get close without disturbing the animals
• Sports events where you can shoot from the sidelines and still get close to the action
• Photojournalism or events where you have to capture key moments without disrupting things and can shoot from a safe distance
• Astrophotography
• Lunar photography
• To decrease the visual distance from the background to your subject, and to isolate your subject against the background
• Get great-looking bokeh

[Related Reading: Top 3 Lenses For Photographing Bridal Portraits (And 5 Honorable Mentions)]

What is a Wide-Angle Lens Used for?

Wide-angle lenses do exactly that – give you a much wider angle of view than telephoto lenses, and they tend to go from 34mm on downwards, until you reach the ultra-wide-angle lenses and fisheye lenses of 14mm or so. As telephoto lenses have their problems, so do the ultra-wide-angle lenses – this time it’s image distortion, although some photographers shoot specifically to make creative distortion images, so it’s not necessarily a problem.

What Does a Wide-Angle Lens do to an Image?

When you shoot with a wide-angle lens, you are expanding the horizontal scope of an image, and almost everything will be in focus, unless it’s very close to the lens – this makes it a great lens for landscape photography. The wider the angle of the lens, the more distorted your image becomes. Ultra-wides, or fisheye lenses, can take in a full 180-degree radius and are often used specifically to create a distorted perspective.

Distortion is most visible at the outside edges of the frame, and straight lines become curved. The center of the image also looks further away and gives a skewed perspective that can add interest and depth. While this can give you unique, creative images, not everyone wants distorted photos, especially if they’re shooting portraits.

Best Ways to Use a Wide-Angle Lens

The good news is, wide-angle lenses are generally much cheaper than their telephoto cousins. The bad news is that if you want straight lines in your images, you’re going to have to do a lot of distortion fixing in post-processing! Here are some ways in which you can put a wide-angle lens to good use:

• Landscape photography – capture mountain ranges and large scenes. You can also get closer to a large subject and still keep it in the frame, like a tall building.
• These lenses are great for creative architecture photography. The wide-angle lens lets you shoot cityscapes and buildings without needing to be far away, and it also creates that distortion of straight lines.
• Real estate photography – wide angles allow you to shoot interiors and exteriors

Telephoto vs. Wide-Angle Conclusion

And the winner of telephoto vs. wide-angle is…both!

It’s a case of horses for courses, and each type of lens has its own strengths and weaknesses and is invaluable for different types of photography. I hope this article has cut through any confusion surrounding the subject and that it ultimately helps you decide which type of lens you’ll use most before you spend any money. Or, of course, you could have one of each type of lens to cover all the bases!

Seeing the photographer work made me think that I would love to do the same and the very next day I went out and bought a starter camera kit. A Canon 1000D with a kit lens. Not knowing anything about photography or that a kit lens is generally terrible in low light conditions I was ready to go.

In my rush to go out and buy equipment, I had no idea what to do next, and as there is no school for concert photography I just had to blag my way along. I don’t think I have done too bad either, In a short space of time, I went from shooting unknown bands in unlit pubs to photographing stadium tours of artists such as One Direction, Coldplay, Noel Gallagher, The Vamps, and so many more.

This is how I started as a music photographer and hopefully, it can help you too.

Getting Started & What You Really Need

As I said above I had no idea what equipment I needed and bought a DSLR that was affordable to me. The kit I purchased was the Canon 1000D which came with the EFS 18-55mm f/3.5-5.6 lens.

After my first gig, I knew that this lens wasn’t going to cut it because the aperture level of f/3.5-5.6 was struggling to let in enough light in the conditions available. Your first shows are going to be in places with very little light and you are going to need to shoot at the highest ISO levels that your camera allows without ruining image quality.

For me, I have always used Canon cameras, not because I think they are the best, but that’s what I am used to so if you’re thinking why can’t I use another camera then you can. My suggestion would be to get the camera you can afford, make sure it’s a DSLR and get a good low light lens to go with it.

For Canon cameras, a good low light lens which I love is the Canon EF 50mm f/1.8 lens. This lens is affordable, works amazingly in low light, and can create some beautiful bokeh shots which is a great effect to play around with.

In my experience, a low light lens is a must-have item as a music photographer. As your career progresses you can then look at the L series lenses from Canon which produce sharper images and come down to lower apertures.

It’s worth noting that many venues will have a no flash policy so this is why I stress that you need a low light lens. If you don’t have one the kit lens is going to struggle to capture well exposed and sharp images.

When you have your equipment,  you now have to find music venues in your area. My tip would be to add them all on social media and direct mail them asking for a photo pass for upcoming shows.

When starting out most venues will require you to pay an entry fee just like everyone else so keep that in mind when budgeting your money. As you shoot more shows and you become more well known you won’t be required to pay entry and you will often be given access to all area passes which is really cool as you get to see behind the scenes shots and get to meet many of the artists.

Music Photography Tips

Depending on the size of the band or the show, they will all have different rules on what you can and cannot do as a photographer, but this will be run through by security or the events manager at the time of the concert. Medium to large shows will often have a 3 song rule where you are allowed in the pit for three songs to take your photos before security will come and collect you, usually moving you off to the side of the stage.

Therefore you will want to make sure you take as many photos in your allowed timeframe and should have backup storage for your photos as well as backup power packs. I can’t tell you the number of times that I’ve filled a memory card or my power was cutting out on my camera so having spares is going to do you well.

When it comes to camera settings in a concert environment all lighting situations are going to be different but as a general rule of thumb, you may want to shoot between ISO 800 and 1600 as that will allow you a quicker shutter speed which will capture sharper images. I would personally shoot in RAW mode too as it allows for more flexibility when editing your images and if you do mess up your exposure levels you can get them inline a little better.

For those of you who are new to photography, RAW is a file format that captures all the data recorded by your lens while not compressing this data. This allows you to take better quality photos and overexposing or underexposing photos because of quick lighting changes can be overcome.

Building Your Brand

In the beginning, you are going to be spending money on equipment, getting to shows, and getting nothing back financially at this point. I had spent upwards of £2000 before making any money from photography, and while I would photograph concerts for free because it is a passion of mine, it’s always nice to pay the bills.

To start making money from Photography you are going to need to build a brand for yourself. I started many years ago and I didn’t have a website, but these days I really think you are shooting yourself in the foot if you don’t have one.

Websites can be expensive so if you don’t have a budget for one then use a free website builder such as Wix. You can get some nice themes on there to make your website look professional and really show off your images. In the future, you can get a website professionally made when you are making more money from your photos.

As well as websites you should sign up for Twitter, Linkedin, Instagram, and Flickr which got me noticed by Getty images, which I would later sign up as a contributor for and would allow my images to be used in newspapers all around the world.

Being on social media as a photographer is going to get you noticed and will generate interest in your services. I’ve had many people reach out asking me if I wanted to photograph their band, wedding, or kids party. Some of the requests you may get are strange but you never know who’s out there looking at your photos.

One of my photos was shared and liked by George Clooney’s ex-girlfriend and former WWE star Stacey Keibler, how cool is that?!

If your time is stretched and you can’t run multiple social media accounts I would pick two and use them. For me, Flickr and Instagram have been brilliant at generating interests in my services. From Flickr, I was contacted by a rep from Getty images where I would start to make money from my photos, and because of the access they have, I was able to photograph some of the biggest bands and artists on the planet.

With a company such as Getty, I have been paid upfront for a show and I have also been paid on commission when my images sell. I prefer the later as world events can make a band or artist be all over the news and a lot of the time your images get picked up meaning you can make money from your photos for many years to come.

Networking

When I started photographing concerts I would look at the other photographers as competition, maybe that’s my personality of being competitive but I now know this was the wrong way to look at the situation. In my experience photographers are some of the nicest people you will ever meet.

If you work enough concerts you will begin to see the same faces over and over again, so don’t make the mistake I did initially and be cold to these people as you will more than likely get along with them and it opens up the opportunity to photograph more shows. There have been times when I’ve not had any shows booked in only for another photographer to call me and ask if I could shoot a show with them and vice versa.

Some of the photographers you will meet have been doing this a lot longer than you. Their advice and career experiences can help you learn more than a book or video tutorial ever could.

Don’t Panic When Things Go Wrong

Things will go wrong when taking photos, so you just have to go along with it, and don’t let the mistakes play on your mind for too long as you will miss more opportunities.

A mistake which sticks in my mind is when I was photographing WWE’s Chris Jericho and his band Fozzy and he came right up to me and reached out to my camera and pointed at it, the shot was brilliant and just as I was going to take it my memory card was full. Chris Jericho stood there for a few seconds giving me an exclusive shot and I had to pretend that I was taking it. It still haunts me to this day.

Be prepared for late nights and the need to work a second job.

As with nearly every job in photography, the photos being taken were needed two days ago. With music photography, you will often need to edit the photos and send them off to the company you are shooting for in the same evening.

Quite often I will photograph a show, edit the images till late in the evening and have to go to my day job the very next day leaving me with hardly any sleep.

If you are thinking of getting into music photography you should know that the deadlines are horrendous and quite often you will need a second job or will need to provide additional photography services to make enough money to get by. I’ve been fortunate enough that my images have sold and when an artist is trending it can make you a nice profit but there will be times where your photos don’t sell or they don’t make enough sales to cover all of your bills.

I’m lucky enough to have a job that allows me to stay in the world of photography and videography which is also flexible enough to let me travel up and down the country to photograph some amazing artists.

Author Bio

When not photographing concerts James Mathews is the head of content at BounceColor.com a website that allows photographers and videographers to edit their content quickly through the use of digital presets.

*Content shared with permission

Who Is This Lens For?

The 85mm focal length is highly desirable for photographers who prefer not to be too close to their subjects. Its lack of distortion makes it a favorite of portrait photographers, as it produces slimming effects on subjects. Additionally, the 85mm’s compression combined with its fast f1.4 (or f1.2) aperture creates a desirable, creamy bokeh.

In sports photography, the 85mm is an excellent choice because it offers an intermediate length that allows the user to get closer to the action while still having the flexibility to capture shots of the entire field. Compared to other popular telephoto lenses such as the 135mm or 200mm, the 85mm is a more affordable, compact, and portable option.

Why Samyang/Rokinon?

In today’s market, photographers have a wide range of options when it comes to 85mm lenses, and third-party lenses have become increasingly popular due to their ability to deliver high-quality results at more affordable prices. Among these third-party manufacturers, Samyang, a Korean lens manufacturer known for its manual-focus lenses, has recently been expanding its line-up to include high-quality autofocus lenses.

Samyang’s 85mm lens for Canon‘s new RF mount is the first of its kind from a third-party company, and is based on the manufacturer’s extensive experience in producing similar lenses for other brands. Despite offering comparable performance to Canon’s EF version, Samyang’s lens comes at a lower cost, with a price tag below $1,599.00.

By creating lenses for the new EOS R system, Samyang is clearly demonstrating its commitment to staying ahead of the curve and producing quality lenses that will be relevant for years to come. As Canon continues to launch new mirrorless cameras, Samyang is poised to continue developing high-quality lenses for this mount.

As Samyang specifies “Samyang’s RF series is known for its outstanding image quality, since the AF 14mm F2.8 RF was awarded the prestigious TIPA award in 2020 as ‘best mirrorless prime wide-angle lens.’ The new AF 85mm RF also makes no compromise in image quality: A total of 11 elements in 8 groups, with 4 high-refractive (HR) optics and an extra low-dispersion (ED) lens, have been designed to create impressive image quality from corner to corner.”

Samyang 85mm F/1.4 RF Specifications

• Model name AF 85 mm F1.4 RF
• Aperture range F1.4 ~ 16
• Lens optical
  • Construction 11 Elements in 8 Groups
  • Special lens HR 4, ED 1
• Coating UMC
• Minimum focusing distance 0.90m (2.95ft)
• Maximum magnification ratio x 0.11
• Filter size Φ 77.0
• Maximum diameter Φ 88.0
• Number of blades 9
• Mount Canon RF
• Angle of view
  • Full Frame 28.9˚
  • APS-C 19.1˚
• Length 99.5mm
• Weight without lens cap, hood 582g
• Weather Sealing o
• AF/MF mode switch o
• AF Motor LSM

Build and Handling

As is typical with Samyang’s autofocus and manual-focus lenses, the build quality of this lens is of a high standard. The metal mounting plate and high-quality plastic barrel feel sturdy and well-engineered, with weather-seals providing protection against the elements. Inside, the optical path consists of nine elements in seven groups, including a hybrid aspherical element. The lens is also coated with “Ultra Multi-Coating” to minimize ghosting and flare.

Despite its high-quality build, the Samyang lens is easy to manage and much lighter than the latest Canon 85mm lens. As the first third-party option for the RF mount, it is likely to be compared to Canon’s own offerings.

It’s worth noting that the RF version of the lens is larger and heavier than the EF version. This is due to the need to adapt lenses to the 54mm RF mount, which allows wider lens elements to be placed closer to the sensor. This reduces chromatic aberrations and facilitates more effective lens arrangements.

The onboard controls for this lens are minimal, consisting only of a switch to toggle between autofocus and manual focus and a manual focus ring. The autofocus system utilizes a Dual LSM (Linear Supersonic Motor), which operates quickly and quietly. However, the manual focus ring is electronically coupled rather than mechanically coupled, unlike with an ultrasonic ring-type arrangement. As a result, the focus ring only functions when power is supplied from the camera, such as after a light press of the shutter button.

Performance

Like its EF counterpart, the RF version of this lens autofocuses quickly and with high accuracy, even in low-light indoor conditions. The fly-by-wire manual focus ring allows for very precise adjustments, particularly when using a magnified preview in live view mode. While center-sharpness is not exceptional at f/1.4, it improves significantly at f/2 and becomes excellent from f/2.8 onwards. Lateral chromatic aberration is reasonably well-controlled at f/1.4, but may become more noticeable at narrower apertures.

Despite shooting wide-open at f/1.4, the lens produces impressive contrast, and center-sharpness is quite acceptable, although it does drop off somewhat towards the edges. This is not a significant issue for portraiture, and the noticeable vignetting can even be seen as a bonus, as it can be avoided during post-production. When stopping down slightly to increase the depth of field, the bokeh remains excellent, aided by a well-rounded nine-blade diaphragm.

Autofocus

Samyang is a relatively new player in the autofocus aspect of lens design, which has been their Achilles heel so far, particularly when compared to other manufacturers with more extensive lineups of EF/RF AF lenses. However, the company has 40 years of experience in manufacturing high-quality glass, and they frequently release firmware updates to address any issues.

Samyang has begun incorporating dual Linear Sonic Motors into their designs, resulting in much quieter and refined autofocus. The AF-S performance produces a small amount of sound, but it is the fastest mode for stills. There is a brief moment where the momentum builds up before the focus occurs very quickly. The overall focus speed in AF mode is actually quite fast, comparable to many other 85mm lenses on the market.

One area where the Samyang lens truly excels is Eye AF. The release of the AF 85mm coincided with one of the most significant highlights for Canon’s new cameras, which included improved focus algorithms and enhanced tracking in the form of Real-Time Eye AF and Real-Tracking. This makes the Samyang AF 85mm an excellent choice for portraiture.

What We Liked

• Quite compact and lightweight
• Relatively inexpensive
• Good image quality

What Could Be Better

• Centre-sharpness isn’t overly impressive at f/1.4
• No optical stabilizer
• Ring control, such as Canon´s original

Conclusion

The release of the Samyang AF 85mm / 1.4 RF is a pleasant surprise for Canon shooters. Especially for those ones who already moved to the mirrorless system or to those ones who are still considering and waiting for the new cameras or lenses to be introduced.

For many novice photographers, the high price tag of some brand-name lenses is simply not feasible. Additionally, some photographers prefer not to deal with the bulk and weight of these lenses. This is where the new option from Samyang becomes an attractive choice, as it is more affordable and lightweight. The lens measures less than 10cm in length and weighs 582g without the lens cap and hood.

Despite its lower price point, the Samyang 85mm is still able to capture the finer details of portraiture while delivering a smooth and creamy bokeh with a seamless transition between focused and defocused areas. The lens strikes a good balance between price and build quality, offering solid autofocus performance and near-perfect image quality for portrait work.

Special Note

In combination with the Samyang AF 85mm / 1.4 RF, I did this shooting with the Godox AD200 Pro, the new AD300 Pro, Magbox, and other MagMod´s tools, a set-up that I recommend personally without hesitation for portrait photography.

Check Pricing & Availability of the Samyang 85mm F/1.4 RF Here:

Adorama | B&H | Amazon