CES 2014: Two New “Art and Contemporary” Lenses from Sigma

Coming off the heels of an exciting year of lens announcements from Sigma, they have started 2014 with two more notable lens announcements as part of the Art and Contemporary lines of their Global Vision structure: the 50mm f/1.4 DG HSM and the 18-200mm f/3.5-6.3 DC Macro OS HSM.

Editor's Note: this post was written by Bjorn Petersen

PhotoPlus 2013 VIDEO: The New 18-35mm f/1.8, 24-105mm f/4 and USB Dock from Sigma

Sigma recently announced a bunch of compelling new products, and we had the opportunity to chat with company representitive Jared Ivy about our favorites. In this video, we take a look at the new 18-35mm f/1.8 lens, the world's first f/1.8 constant-aperture zoom. We also learn some interesting tidbits about the Sigma USB Dock for lenses, and we get a first look at the new 24-105 f/4 optically-stabilized zoom.

How to Drop $725k on Gear

When it's time to buy new gear, we usually need to seek out options that offer the best bang for the buck. In the process of doing so, we're forced to suppress our deep desire for the gear that provides the loudest bang. We've rounded up of some highest-ticket items sold at the B&H SuperStore, so we could fantasize about clicking the Checkout button with the confidence of a newly-minted billionaire.

B&H Pulse Weekly News Roundup: January 11th, 2013

This week in the news: CES brought with it a slew of new product announcements. Canon introduced the Powershot N; the Nikon D 5200 arrives in the United States; Fujifilm announces the X100S & X20; Pentax launches the stylish MX-1, and much more!

This is your B&H Photo Pulse News Roundup for January11th, 2013. Be sure to follow us on Twitter for the latest news as it breaks.

B&H Pulse Weekly News Roundup: April 5th, 2012

This week in the news: Canon announced a new camera for those looking up at the sky, while Phase One announced a new camera for those looking down at the ground; Instagram came to Android; Sigma added a new lens to their lineup, and more...

This is your B&H Photo Pulse News Roundup for April 5th, 2012.

Win a Sigma 50mm F/1.4 Lens!

B&H and Sigma Photo are giving away a most coveted lens—the Sigma 50mm F/1.4 EX DG HSM. If you've ever wanted a sharp, contrasty, fast-apertured lens with professional-grade construction, here's your chance to get your hands on one with the lens mount of your choice!

Click Read and Discuss to see how you can enter and snag this very-well-reviewed lens.

Macro Lenses

Regardless of the focal length of your favorite lens, I'd venture to say you've been in situations where you've tried to focus in tight on your subject and inevitably hit the wall—the minimum focus point of your lens. Sure you can crop, but in a perfect world it would be swell if each of our lenses would focus as close to our subjects as our mind's eye focuses. Alas, the world isn't perfect... but we do have macro lenses.

Extreme Wide

The first words usually uttered by somebody peering through an ultra wide-angle lens for the first time is usually something along the lines of “Whoa!”—and the wider the lens, the louder the “Whoa!” While peering through an extreme telephoto lens can also coax a “Whoa!” from the viewer, it’s because of its ability to bring distant subjects seemingly within arm’s length. Ultra-wides are different in their ability to interpret objects that actually are within arm’s-length distance in a different light. And that’s what makes them special.

Extreme Telephoto

For many shooters, telephoto lenses are a means of bringing distant scenes closer, and for the most part, this is an accurate description of what telephoto lenses do. But there's more to telephoto lenses than narrow fields of view. Perspective, compression of spatial relationships between subjects within the frame and the dynamics of selective focus are equally part of the game.

Beyond the Kit Lens

For many DSLR owners, there comes a time when one wants to go beyond the kit lens that came with the camera. The reasons vary. For some it's a matter of sharpness. For others it's a matter of speed and/or focal-length restrictions. And for some it's simply the fact they don't like the ''icky" feel of a plastic lens barrel, regardless of how sharp the lens may or may not be.


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