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Three New Sigma Lenses

Sigma has officially introduced three new lenses, broadening its Art and Contemporary series with a mix of high-speed primes and a travel-friendly zoom. The new lenses include the 35mm f/1.2 DG II Art, the 20-200mm f/3.5-6.3 DG Contemporary, and the 135mm f/1.4 DG Art, each ment for different types of photographers but sharing the company’s continued push into full-frame mirrorless glass.

The 35mm f/1.2 DG II Art arrives as the successor to Sigma’s 2019 35mm f/1.2 DG DN Art. While the first version was known for its sheer speed, it was also bulky. The new model trims that down, coming in about 20% shorter and 30% lighter than its predecessor.

It weighs 755 grams, measures 111.4 millimeters long, and now uses a 72mm filter thread instead of 82mm, making it easier to handle and pair with smaller filter systems. The lens has 17 elements in 13 groups, including one SLD and four aspherical elements, plus an 11-blade circular diaphragm. Sigma says the new optics improve sharpness across the frame at f/1.2 and reduce color bleeding and double-line bokeh.

Autofocus has been overhauled as well, with dual HLA (High-response Linear Actuator) motors controlling separate focus groups for faster, quieter operation. Focus breathing has also been minimised to suit video users.

The lens has a de-clickable aperture ring, a customisable AFL button, and a dust- and splash-resistant construction. Built in Aizu, Japan, it will launch for Sony E and L-Mount on September 25 at $1,549.

A few sample images:

The second lens is the 20-200mm f/3.5-6.3 DG Contemporary, the world’s first 20-200mm zoom lens for full-frame mirrorless cameras, filling a unique spot in the market. Unlike the more common 24-200mm or 28-300mm travel zooms, the wider 20mm starting point should appeal to landscape and architecture photographers who need extra coverage at the wide end.

Despite the range, the lens remains compact at 115.5mm long and 550 grams. The optical design includes 18 elements in 14 groups, with four aspherical, three SLD, and one FLD element. It uses a nine-blade circular aperture and has a 72mm filter thread. Close-focusing is another highlight: between 28mm and 85mm, it can achieve a 1:2 magnification ratio, effectively offering half-macro capability.

Even at 200mm, it delivers 1:3.3 magnification. Autofocus is powered by Sigma’s HLA motor, and the L-Mount version supports linear/non-linear focus ring options when paired with the USB Dock UD-11. The lens does not feature optical stabilisation, meaning users must rely on in-body IS.

Its design includes a zoom lock, focus mode switch, and weather resistance. The 20-200mm f/3.5-6.3 DG Contemporary will be available later this month for $999 in Sony E and L-Mount.

A few sample shots:

The last announcement is the 135mm f/1.4 DG Art, the first autofocus 135mm f/1.4 lens designed for full-frame mirrorless cameras. Telephoto primes at this focal length are typically limited to f/1.8, making this lens stand out both for aperture and autofocus capability.

The construction consists of 17 elements in 13 groups, including four FLD and two aspherical elements, arranged to suppress chromatic aberrations and maintain sharpness wide open. The lens employs a floating focus system with two independently moving groups, each driven by its own HLA motor.

Sigma says this dual-motor design ensures both speed and precision across the focus range. The 13-blade diaphragm produces large, smooth bokeh, and Sigma claims the bokeh balls are even larger than its already-renowned 105mm f/1.4 Art, sometimes nicknamed the “Bokeh Master.” The lens includes two AFL buttons, a de-clickable aperture ring, a focus mode switch, and a removable tripod collar with Arca-Swiss cutouts.

It is also weather-sealed and has a water- and oil-repellent coating on the front element. The lens measures 4.4 by 5.3 inches and weighs 1,430 grams. It will ship in September for $1,899 in E- and L-Mount.

A few sample shots:

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Interview with Luke Lucis

This week’s Interview with Luke Lucis, a talented street and travel photographer. I am truly honoured to have had the opportunity to interview him!

You can find him on Instagram as: @lukelucis_

Enjoy the amazing Interview ;)

Can you tell us a bit about yourself?

I’m Luke, a photographer from Cologne, Germany. My main focus is travel and street photography, though I don’t like to box myself in too much. What really draws me in is nostalgia and moments that feel timeless, scenes that could almost belong to another decade. I try to capture photos that feel like small fragments of a bigger story, something that lingers after you’ve seen it. For me, photography isn’t just about documenting where I’ve been or what I’ve seen, it’s about creating images that people can connect with emotionally, almost like they’ve lived a little part of the story themselves.

How did you get into photography?

It started in a pretty simple way, I was just documenting my trips and everyday life, like most people do. At first, the photos were more about the places like the landmarks, the views. But over time, I noticed that the photos I liked most were the ones that captured a feeling rather than just a location. The way the light hit a street corner, or how the colors of a wall matched with someone’s jacket walking past. That’s when photography stopped being just a casual hobby and started turning into a passion.

How do you approach storytelling through your photos?

I try to make my photos feel like they’re part of a film, like you’ve just hit pause, but the story is still happening all around it. That means I’m paying attention to light, gestures, small details in the background. Even the way someone is walking through the frame can create narrative. Sometimes the story is obvious, other times it’s more about mood, where the viewer fills in the blanks. I like that kind of open-ended storytelling where people can project their own feelings or experiences onto the image.

How do you define street photography in your own terms?

For me, street photography is about capturing the everyday in a way that feels cinematic. It doesn’t have to be chaotic or crowded, sometimes it’s just one person and a shadow. What matters is that it’s real, unstaged, and has some sort of emotional pull. I see it as a mix between documentary and art, it’s about showing life as it is, but also shaping it into something visually strong and meaningful.

What attracts you to street photography compared to other types of photography?

It’s the unpredictability. You never know what’s going to happen, and that keeps it exciting. In other types of photography, you can plan and set up everything. But on the street, you’re always reacting in the moment. A single gesture, a flash of light, or even just the way the weather changes can transform a scene. That challenge of being alert and ready for the unexpected is what makes it addictive.

How do you capture emotion in your photos?

For me, it comes down to timing and light. Emotion often shows in the smallest details someone’s posture, the way a shadow falls across their face. Light plays a huge role because it sets the mood. Warm light can make a scene feel hopeful, while harsh shadows can add drama. When I edit, I try to keep the tones film-like and a bit nostalgic, because that’s what best reflects how I felt in the moment.

What gear do you use?

I shoot Fujifilm mainly the X-T5 and the X100V. I really like primes like the XF 23mm f/1.4 and XF 33mm f/1.4, but I also keep the XF 16–55mm f/2.8 handy when I need flexibility. For travel, I sometimes bring my DJI Mini 4 Pro drone because it lets me see the world from a totally different angle.

What are your favourite shooting conditions?

Sunrise is my absolute favorite. The light is soft and changes every minute, the streets are quiet, and you have this feeling of being alone with the city. It gives me time to think and really compose carefully. Sunsets can be beautiful too, but mornings just feel different as in calmer, less crowded. I also really enjoy harsh midday light. A lot of photographers avoid it, but I like how it creates deep shadows and strong contrast. It makes photos feel bold and dynamic.

How do you approach photographing strangers in public spaces?

I try to bring good energy when I’m out shooting. Most of the time, people sense that and respond positively. Sometimes they’re even curious about what I’m doing. If I take a photo where someone is clearly visible, I’ll often offer to send it to them. That’s led to some nice exchanges and even friendships. Of course, not everyone likes being photographed, and I respect that. But I’ve found that if you’re open and approachable, people are usually fine with it.

Is there a type of photography or genre you haven’t explored yet but would like to?

Definitely. I started out with portraits and really liked that, so I’d love to do more. Maybe even step into fashion at some point, though it’s new territory for me. I’ve also been experimenting with drone photography, and I want to use it more, especially when I travel. Another area I want to try is sports photography just for the challenge. It’s so different from what I normally do, but I think it could push me to see things in a new way.

What does photography mean to you?

Photography has changed the way I see the world. It’s made me more present, more aware of small things I would have missed before. I notice the way light hits a building, the way someone’s expression changes for a split second, or how colors work together on a street. And when I look back at my photos, they’re memories of how I felt in that exact moment.

How did you find your photography style?

In the beginning, I experimented with different looks, bright, dark, moody, colorful. Over time, I realized I was always drawn back to a film-inspired, nostalgic look. Movies had a big influence on me, especially ones with strong atmosphere and color grading. Eventually, I combined that with my love for travel and street photography. It’s still evolving, but now I feel like I have a style that feels personal and consistent.

What are your thoughts on AI in photography?

AI can be useful for editing or workflow, but it doesn’t replace the act of being there and experiencing the moment. Photography is about perspective and emotion, and that’s not something AI can replicate. I’m not against using tools that make life easier, but for me the core of photography is still about human connection and seeing.

Do you have a specific location or city that you think offers the best opportunities for street photography?

Venice is my favorite, it’s just timeless. Every corner looks like a painting, and it works in every season and weather condition. I also love Paris for its energy, Naples for its rawness, and Lisbon for its light. But, I think you can find good opportunities anywhere if you approach it with curiosity. Sometimes even your own city, where you think you’ve seen everything, can surprise you if you look at it differently.

Any tips for beginners?

The biggest one is consistency. Set yourself days to go out and shoot, even if you don’t feel like it. That’s how you improve, by putting in the hours. Travel as much as you can, even if it’s just to nearby towns. Don’t get stuck chasing gear. I’ve seen people buy expensive setups and then barely use them. A simple camera and a willingness to go out regularly will take you much further.

How much gear do you usually carry with you on a street photography outing?

Usually just one camera and one lens. I’ve found that keeping it simple helps me focus. If I’m exploring a new city, I might take a zoom for flexibility. At night, I sometimes bring a fast prime. But most of the time, one setup is enough. Carrying less means I move more freely and think more about the photo than about which lens to use.

Are you a professional photographer or is it just a hobby?

It started as a hobby, but now it’s grown into something more. I still have a regular job, but photography has opened up new projects and opportunities I never expected. It’s exciting to see where it could go.

What do you love most about photography?

The community and the endless learning. I’ve met so many people through photography, both online and in real life, and some have become close friends. I also love that photography has no limits. There are always new genres to explore, new skills to learn. You’re never done, and that’s what keeps it exciting.

How important is lighting in photography?

Lighting is everything. It sets the mood, changes the colors, and creates atmosphere. Cloudy days make for soft, dramatic tones, while harsh sun creates energy and contrast. Personally, I’m more drawn to natural light than artificial, but I admire photographers who master neon and rain-soaked nights.

How important is composition?

Composition is key. At first, I didn’t think about it much, but once I started paying attention to how lines, framing, and space worked, my photos improved a lot. I often use leading lines, symmetry, or layering. Once you understand the rules, you can also break them to create more interesting results.

Who are some artists that inspire you?

Photographers like Andre Josselin, Eren Jam, Billy Dinh, Roman Fox, Jord Hammond, Thomas Kakareko, and Monaris have been big inspirations. I also take a lot from film. Directors like Denis Villeneuve or Guy Ritchie influence how I think about color, mood, and storytelling.

What editing software do you use and how long does it take you to edit a shot?

The rest, 6 more questions, of this Interview are for Premium subscribers only.

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The Camp Snap Pro Point-and-Shoot

Camp Snap’s older point-and-shoot just got a more serious sibling. The company has announced the Camp Snap Pro (also called the CS-Pro), a new version of its simple screen-free camera that adds a handful of upgrades while keeping the same back-to-basics shooting experience that made the original popular.

On the outside, the CS-Pro still leans into the retro vibe, but the body has been reworked. It is a little bigger than the standard Camp Snap and finished in a black-and-silver design that feels more like a nod to vintage film compacts than the colourful toy-like look of the original.

The optical viewfinder has been moved up to the top left corner, and on the back there’s now a small information panel. A dedicated filter dial sits on the front, giving quick access to four built-in film-style filters, something the first model didn’t offer. Camp Snap has also added a proper SD card slot (and ships the camera with a 4GB card), a USB-C charging port, and even a standard 1/4-20 tripod mount.

The biggest changes, though, are inside. The CS-Pro doubles the resolution of the earlier camera with a 16-megapixel Type 1/3.1 CMOS sensor, up from 8MP. The built-in lens is now listed as an f/2.2 prime. Details on its exact focal length are still a bit vague, but it’s clearly different from the earlier 28mm-equivalent lens, and this version includes a filter thread.

Just as notable is the new xenon flash, which replaces the basic LED unit on the original model. For anyone who wants that authentic early-2000s digital compact look, xenon lighting should deliver far more punch and a more film-like flash effect.

Despite the hardware changes, the overall philosophy hasn’t shifted. Like the original, the CS-Pro is designed to strip away menus and screens and encourage point-and-shoot spontaneity. You still don’t get a rear display to review shots, images have to be pulled off the card later, but that’s part of what fans liked about the first version.

The Pro model simply adds some refinements that address common complaints: higher resolution, a stronger flash, and more flexibility with filters. The Camp Snap Pro is open for preorder now and will ship soon. Pricing is set at $99, about $30 more than the standard Camp Snap.

A few sample shots:

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Photography Tip of the Week

The weekly photography tip is only accessible to Premium Subscribers of The Magazine For Photographers.

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Photo Analysis

Welcome to the new part of the Magazine Issue where we take a closer look at a photo and analyse it so that you can learn and better your own photography from it ;)

Photo by: @joao.bernardino

Let’s Analyse this Image: 

Composition & Framing

What works well:

• The kiosk in the foreground works really well as a dominant shape anchoring the left side of the frame.

• The curved railing on the right adds a nice flow and leads your eye into the background where the woman with the long coat and umbrella stands.

• Our subject, the woman, is nicely framed between the railing and the kiosk, which makes her stand out even more + there are also these “indirect” leading lines created through the framing objects, which again guide your eye towards her.

• The woman’s (very faint) shadow/reflection on the ground also helps bring you in.

• There is also a nice sense of layering: kiosk up front, people mid-ground, and the hazy building in the back. It all adds depth and makes for a 3D look.

What could be better:

• The top of the kiosk merges/overlaps into the building behind. A little more space would have kept it from feeling cramped.

• The building up top is also cut off awkwardly. A slight reframe would have given the shot more breathing room and balance overall.

• The right side feels a bit cluttered with the railing, the pole, and the orange phone booth, all good elements individually, but together they fight a little for space, but as always, there is not much you can do except for reframing the shot (or (controversial) edit these elements out).

• Some would say the other person with the umbrella in the background fights for attention with our main subject. Waiting a bit longer might have cleaned that up. Then again, with street photography, you don’t always get that luxury, sometimes this is already the best possible frame. That’s why it’s always worth firing off multiple shots and picking the strongest one later.

Light & Atmosphere

What works well:

• The mist and fog really set the mood here. It softens the background and gives the whole scene a very cinematic almost neo noir feel.

• I like how the wet pavement reflects just enough light to give the foreground some texture and glow, without becoming distracting.

• The dark tones of the kiosk in the front contrast nicely with the softer and more faded look of the background, which creates a layered scene.

• The mood and colour grading (in my opinion) are what really make this shot work. The tones fit the rainy weather perfectly and give the photo a very cohesive vibe.

What could be better:

• The shadows on the kiosk are quite heavy. Lifting them slightly could reveal more detail in the structure without losing the look (to be fair revealing more texture there could also distract more from the subject).

• The fog is strong, but it also flattens the building a bit too much, you lose some architectural detail that could give more depth, but the atmosphere is definitely worth that sacrifice.

Emotion & Story

What works well:

• The woman with the umbrella gives the image its story. Her posture and the way she’s isolated in the fog make you wonder where she’s going or what she’s thinking.

• The whole atmosphere and mood, undoubtedly become part of the story.

• Our subject pops nicely against the background. The dark coat against the lighter fog ensures she doesn’t get lost, which makes the story easier to read.

What could be better:

• The story feels a little split, is it about the woman with the umbrella, or about the urban kiosk? They both pull attention in different ways.

• The woman is very anonymous (we can’t see her face, any special gesture etc.) meaning we can’t really connect with her that well. In general this photo is more about the atmosphere than an actual story of a particular subject.

Color & Tone

What works well:

• The teal tones running through the scene are beautiful. They give the image a cohesive, moody, timeless palette that works well with the rainy weather.

• The orange-red phone booth in the background pops nicely against the cooler colours. It’s small but adds a nice touch, especially since that red gets picked up elsewhere in the frame too.

• The muted tones of the foggy background keep the focus in the mid-ground where the action is.

What could be better:

• Again, the shadows on the kiosk are very dense, almost pure black. Opening them slightly would keep tonal depth more balanced.

• Some mid-tones feel compressed, especially on the building facade. Bringing out more gradient there would make the scene feel even more three-dimensional.

• Those few red pops (like the phone booth) work well, but they’re very strong compared to the rest of the muted palette. Toning them down just a little would make them feel less overpowering while still keeping that accent effect.

Photographer of the Week

Photographer of the week goes to: Andres

You can find him on Instagram as: @davincidelasfotos

A few photos of his:

The Rest of this Issue is for Premium Subscribers

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