A Softer Kind of Sharpness

I’ve always been drawn to photographing people near the ocean. There’s something about the simplicity of the landscape – open sky, muted sand, moving water – that gives a portrait room to breathe. For this shoot with the Sigma 50mm F1.4 CL DG | Contemporary, I wanted to take that familiar setting and approach it as a small fashion campaign rather than a conventional lens test.

Sascha and I photographed two looks: a blue button-down shirt with shorts, followed by a white crochet set. The idea was to create images that could realistically sit in a fashion catalogue or advertorial, while still retaining the relaxed, natural quality I look for in my portrait work.

The weather wasn’t perfect. We had an overcast day and fairly subdued light, but I actually liked what that brought to the photographs. Instead of relying on dramatic golden-hour light, the lens had to create much of the visual character itself.

That character is what interested me most. Modern lenses have become incredibly good at being technically perfect, but perfect isn’t always the same thing as interesting. I’ve noticed a shift in both photography and advertising toward imagery that feels a little less polished and a little more human. The use of analog technology, film, vintage optics and softer colour palettes have all become part of that language.

Sigma 50mm F1.4 CL DG | Contemporary fits naturally into that space. The subject remains sharp and detailed, but the transition into the out-of-focus areas has a softer, less clinical quality. Wide open at F1.4, the backgrounds have a softness and character that adds to the overall feel of the image. Against the ocean, that gave the photographs a texture and atmosphere I found especially appealing.

At the same time, none of that character came at the expense of actually getting the job done. Autofocus with the Sony α1 II made the shooting process straightforward, and the compact, lightweight design made it easy to move around Sascha, change angles and work quickly between locations. It also has the kind of understated metal design that feels appropriate for what the lens is trying to achieve: something modern in use, but with a clear connection to the character of classic lenses.

For me, that balance is the most interesting part. It gives you the convenience and reliability expected from a modern autofocus lens, without every image feeling overly corrected or sterile. Sometimes a little imperfection – or at least the feeling of it – is exactly what makes a photograph feel finished.