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Sigma’s 14mm f/1.4 Art Lens Rebrand

Sigma’s 14mm f/1.4 DG DN Art has been one of the most sought-after ultra-wide primes since its 2023 launch, but demand has so far outpaced supply. The company admits there have been “significant delays in delivery times,” and to address the issue Sigma is making some unusual changes. Starting September 4, the lens will no longer be sold in its current form. Instead, it is being rebranded as the Sigma 14mm f/1.4 DG Art, given a small exterior refresh, new packaging, and a higher price tag.

Originally priced at $1,599 (later bumped to $1,759 after tariffs) the lens will now cost $1,839. It will continue to be available in both Sony E and L-Mount versions, but only through a special made-to-order system. Customers will be able to place orders between September 4 and October 31, with deliveries scheduled to begin in March 2026. Sigma says there may be another order window later in 2026, but nothing has been confirmed yet. In the meantime, the company notes that whatever stock of the DG DN version remains on shelves is all that’s left.

Sigma emphasizes that this change doesn’t affect image quality or optical design. The 14mm f/1.4 DG Art will deliver the same performance as before, just with a new name and updated branding in line with the company’s recent design overhaul. Sigma says the price bump is due to higher raw material and shipping costs.

Godox’s New Litemons LE Lights

Godox has added three new COB LED lights to its Litemons lineup: the LE200Bi, LE300Bi, and LE600Bi. All made for photographers and videographers who want decent power in a compact design. Unlike many lights in this price range that rely on external power bricks, these models keep everything in one unit, which should make them easier to transport and quicker to set up on location.

On the output side, the LE200Bi delivers up to 57,700 lux at one meter with a reflector, while the LE300Bi comes in slightly higher at 58,900 lux. The larger LE600Bi provides even more punch but still comes in at 10.5 pounds. All three lights are bi-colour, covering 2800K to 6500K, and carry CRI and TLCI ratings of up to 98, meaning users can expect good colour accuracy and consistent results in different environments.

The fixtures also include 11 built-in lighting effects such as candlelight, fireworks, and TV flicker. For control, users can rely on onboard settings, connect through the Godox Light app via Bluetooth or NFC, or integrate the lights into more complex setups with DMX. Godox has added a Bluetooth reset button to make multi-light rigs easier to configure, while the cooling system includes a silent mode for sound-sensitive shoots. Prices are set at $219 for the LE200Bi, $239 for the LE300Bi, and $399 for the LE600Bi, with availability listed as “coming soon.”

You can see full details on Godox’s website here

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Photo Analysis

Welcome to a new addition to the magazine: the photo analysis, where I will analyse a photo and talk about the composition, lighting what’s positive, what’s negative etc. so that you can learn and better your own photography from it ;)

This week’s photo by: Tommi Viitala

You can find him on Instagram as: @tommiviitala

Let’s Analyse this Image:

Composition & Framing

What works well:

• The leading lines here are great. The tiles on the ground, the floor markings, the roof structure, the train tracks, even the shadow lines all work together to pull your eye through the frame.

• What I really like is that these lines basically start from all four edges of the frame and converge in the middle, in the distance. Meaning —> the lines don’t just guide your eye, they give the whole photo a very strong sense of depth.

• The man is placed dead centre, and in this case it works, he feels anchored by all those lines converging around him.

• The shadow of the man is a big part of the composition too, it creates balance and adds another layer of interest to the image.

What could be better:

• The shadow of the railing on the right side pulls the eye a bit away from our subject, it doesn’t really add much compositionally, but it does compete with the man and his shadow.

• The crop at the bottom feels a little tight. More breathing room could have let the frame play out more fully.

• Though the man’s placement in the frame works, he actually hurts the photo’s depth since he, sort of, covers the converging point in the distance as well as the further parts of the leading lines. Not that another placement would have worked better, it is just a noteworthy remark.

Light & Atmosphere

What works well:

• The light here is really strong. The golden glow spilling across the platform gives the whole photo a warm, late-afternoon mood. It feels cinematic and immediately sets the tone.

• I like how the man is caught right in that pool of light. His shadow stretches cleanly behind/next to him, which makes him stand out nicely against the platform.

• The atmosphere feels quiet and still, like the end of the day when the station has emptied out and no more trains are leaving or arriving.

• That little sunlight flare, coming in from the top right is a cool touch that adds some interest, character and complexity.

What could be better:

• The highlights on the right side, especially in the sky, are very bright. They kind of overpower the area and flatten some of the detail.

• The shadows on the left are heavy, so dark (compared to the other side) that they actually create a bit of imbalance in the frame. Lifting the shadows slightly would make things feel more even.

• The sunlight hitting the ground is nice, but it’s strong enough in places that you lose some of the surface texture of the tiles.

Emotion & Story

What works well:

• The solitary man walking away gives the photo a calm and reflective mood.

• The light adds to the sense of time —> you can feel that it’s late in the day, when things are starting to wind down.

• The empty platform emphasises the man’s solitude. It makes the scene feel a lot more personal, like it’s just him (and you).

What could be better:

• The anonymity works for mood, but it (as I note always) it also makes the story harder to connect with. There’s nothing personal about him that we can latch onto.

• The environment is very clean but also a bit sterile. The only thing that helps it not tipping into the ‘‘sterile, hospital look’’ is the warmth/colour.

• The station monitor above the man is not really readable. If we could see the station name more clearly, it would anchor the location better (this is another point I mention quite often when it comes to these sort of scenes).

Color & Tone

What works well:

• The golden tones are quite nice. They warm up the whole scene and give it the cinematic quality.

• The contrast between the lit ground and the darker roof creates a nice separation that keeps the eye where it should be: in the middle.

• The limited palette, in general, works, it keeps the frame simple, cohesive and timeless.

What could be better:

• Even though the golden tones are beautiful, they are pushed pretty far, in some areas they verge on looking a little too processed.

• Again, the shadows are a bit dense, which makes the balance between light and dark feel harsh (the transition is just not that ‘‘fluent’’).

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