360Photography

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  • Capturing the unseen: Sam Forencich’s Invisible Oregon

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    There’s no denying it: Oregon is an incredibly beautiful place. So Portland resident Sam Forencich’s challenge isn’t finding amazing scenes to photograph – it’s finding a fresh way to do it. Experimenting with new approaches and different techniques led the veteran photojournalist and landscape photographer to infrared. He tells Resource Travel: 

    ‘The exciting thing about infrared is that there is no standard for what it’s supposed to look like. This grants you a wide latitude to interpret the look, and there are many directions you can go in.’

    And that’s how a time-lapse was born: his recent work, Invisible Oregon, was recorded entirely with converted infrared cameras. It brings an otherworldly and eerie quality to some of the state’s familiar scenery. Check out the video below and head to Resource Travel for a full interview with Forencich, which includes a discussion of his well-known image of Dennis Rodman, named by Sports Illustrated one of the 100 best photos of all time.

    Read Resource Travel’s interview with
    Sam Forencich

    Articles: Digital Photography Review (dpreview.com)

  • Huawei P10 scores highly in DxOMark Mobile testing

    With an overall DxOMark Mobile Score of 87 points, Huawei’s brand new top-end smartphone P10 has secured itself a high DxoMark Mobile ranking. Only the Google Pixel, HTC 10, Sony Xperia X Performance and Samsung Galaxy S7 have performed better. During testing the P10 showed generally good exposure, even in extremely low light, good color rendering and accurate white balance. Images are among the sharpest the DxO testers have seen and show good detail and texture. Autofocus is fast and accurate. The still image results amount to an excellent sub-score of 88 points. 

    In video mode the P10 offers 1080p recording at 60 frames per second or 4K video at 30 frames per second. Video footage shows good exposure and dynamic range and accurate white balance. Like the still images, video clips also contain plenty of detail. In video mode the autofocus system reacts quickly to changes of the scene and shows smooth transitions, and the P10 garners a video score of 84 points. More detail can be found on DxOMark.com. 

    Articles: Digital Photography Review (dpreview.com)

  • Meyer Optik launches Kickstarter campaign to fund third Trioplan lens – the 35+

    German lens manufacturer Meyer Optik Gorlitz intends to produce the ‘last chapter’ of its ‘Trioplan Trilogy’ if it gets enough funding from its latest Kickstarter campaign to build the Trioplan 35+. The new lens will sit alongside the company’s 100mm F2.8 and 50mm F2.9 Trioplan ‘Soap Bubble’ lenses and will have a maximum aperture of F2.8.

    As with the 100mm and 50mm models, the 35mm lens will be based on a historic optical design but will use modern coated glass from Schott and Ohara. This time though, the construction will shift away from the traditional three-elements-in-three-groups of the standard Cooke triplet and will have an additional pair of elements at the front to adapt the design for full frame sensors. The original Trioplan 1.8in lens this one is based on was designed for 8mm film and was telephoto for the format, according to the company, so some changes had to be made to alter it to be a moderate wide for 35mm-style sensors. The extra two elements account for the + in the 35+ name.

    The new lens will focus to 0.3m and its 12-bladed iris will provide a minimum aperture of F22. Meyer says it intends to make the lens in a range of mounts:

    • Canon EF
    • Nikon F
    • Sony E
    • FujiX
    • Micro Four Thirds
    • M42
    • Pentax-K
    • Leica M (rangefinder not supported/focusing via live view)
    • Leica L , suitable for SL & T mirrorless cameras (strictly manual, rangefinder not supported/focusing via live view) 

    The ‘soap bubble’ name comes from a characteristic of the design that renders out-of-focus highlights in dramatic style when the lens is used wide open.
    At the time of writing the campaign had already passed its goal three times over, but lenses could still be ordered for $ 649 against an expected full retail price of $ 1599. For more information visit the Meyer Optik Gorlitz website or the company’s Kickstarter page.

    Technical data:
    Focal length: 35 mm
    Aperture: 1:2,8, – 1:22
    Angle: +/- 31,5°
    Focussing Distance: Infinity to 0,3 m
    Clip on diameter: 41 mm
    Filter Diameter: M 39 x 0,75
    Size: Ø 61,5 mm x 50 mm
    Weight: ca. 220g
    Aperture blades: 12

    Manufacturer’s information:

    The Trioplan 35mm is now on Kickstarter

    Our new Kickstarter just launched and the mystery lens that you´ve been waiting for is the Trioplan 35mm f2.8, or as we´ve dubbed it, the Trioplan 35+.

    The Trioplan 35+ is the final piece of our Trioplan Trilogy, which includes the Trioplan 100mm f2.8 and the 50mm f2.9.

    Kickstarter backers will be the first in line to get this incredible addition to the Meyer-Optik lineup of hand-crafted, manual focus art lenses. The Trioplan 35+ is expected to be available at the retail price of $ 1,599 later this year but Kickstarter backers can secure the lens for a much lower investment. What backers will get is a groundbreaking lens.

    Previously, it was thought too difficult to achieve the soap bubble effect in a wide angle lens. But Meyer-Optik engineers designed the new lens according to the historic Cook Triplet design but added two elements to boost the lens. The extra two lens elements is why Meyer-Optik decided to add the “+” to the name of the lens.

    The Trioplan 35+ will be unrivaled in its ability to capture the spirit and emotion of the moment. Photography is not just about squeezing the most pixels into a square inch – it´s about creating art.

    The Trioplan 35+ is a full-frame lens and will be available in all major mounts. Early backers will profit from a Super Early Bird pricing.

    Don´t miss your chance to be one of the first in line to get this new Trioplan lens, which will join the Trioplan 100mm f2.8 and Trioplan 50mm f2.9 in the Meyer-Optik lineup of premier, hand-crafted art lenses. Of course Kickstarter backers will benefit from a groundbreaking price.

    Articles: Digital Photography Review (dpreview.com)

  • Photojournalist Mannie Garcia awarded $45k settlement in police lawsuit

    Back in June 2011, photojournalist Mannie Garcia was arrested by Montgomery County police while filming officers on a public street. He was charged with disorderly conduct, but the charge was dropped sixth month later. The following summer, Garcia filed a lawsuit against the police department alleging civil rights violations and abuse by the officers, among other things. The photographer is now being awarded a $ 45,000 settlement.

    In the lawsuit, Garcia claimed his arrest was unlawful, and that the Montgomery County police officers violated his 1st, 4th, 8th, and 14th amendment rights. The lawsuit had sought $ 500,000 in damages, and posed the question of whether the public has the right to record police activities in public places.

    Speaking about the settlement, Garcia recently said to the NPPA, ‘I’m extremely relieved that it’s come to fruition after five and a half years. I think this lawsuit has given attention to the fact that police departments need to pay attention in regards to an individuals’ rights.’ 

    Via: National Press Photographers Association

    Articles: Digital Photography Review (dpreview.com)

  • Throwback Thursday: the Olympus C-2100UZ

    Even in 2000, the Olympus C-2100UZ’s 2MP sensor was a bit behind the times. Plenty of other cameras offered 3MP sensors, but what the C-2100UZ lacked in resolution it sought to make up with a huge (at the time) 10x stabilized zoom. That 38-380mm equiv. F2.8-3.5 lens was matched with a full slate of manual exposure controls, built-in EVF and a focus assist lamp that ‘actually works’. 

    The C-2100UZ shared a lot of features with the C-2020Z on which it was based, which offered a 35-105mm equiv. F2-2.8 zoom. Shared features included a 1.8″ 114k-dot rear LCD, which site founder Phil Askey noted was in sore need of an anti-reflective coating.

    The lens was obviously the C-2100’s biggest selling point. At the time, the only other ‘compacts’ to offer a lens this long were Sony’s floppy disk-based Mavica cameras. There wasn’t much out there to get you to 380mm equiv. on a DSLR either, so the C-2100’s relatively compact, stabilized lens was a pretty wondrous thing. Phil Askey noted some slight chromatic aberration in images, and lamented the camera’s over aggressive sharpening algorithm.

    The C-2100 cost $ 1300 at launch, but a dip in street price to $ 900 later made it much more competitive in its class. Askey revised his review in 2001 to give it a ‘Recommended’ rating reflecting its new price. Do you have fond memories of the C-2100? Let us know in the comments.

    Read our Olympus C-2100UZ Review

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    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm GFX 50S: on the streets of Tokyo, a shooting experience

    Introduction

    Edited to taste in Adobe Camera Raw and cropped in slightly | ISO 200 | 1/60 sec | F2.8

    Japan has long been at the top of my list of places I would like to journey to. Like my coworker, Carey Rose, I enjoy traveling with a camera as a means to create a visual travel diary or log of my adventures.

    This year, I was fortunate enough to cover the CP+ trade show in Yokohama, Japan for DPReview. Of course one does not simply fly all the way to Japan for work and not spend some extra time exploring. And so I delayed my flight back by three days, so that I could have some time to check out Tokyo, a city I’ve long admired from afar in the pages of street photography books and magazines.

    Originally, I was going to bring my Leica M6 + 40mm F2 Rokkor  (a camera I too often neglect) to explore the streets of the World’s largest city. But when Fujifilm informed us they’d have a sample GFX 50S we could take home from the show, my plans changed.

    It was weird, at first, shooting street photography on a medium-format digital camera.
    Edited to taste in ACR | ISO 800 | 1/800 sec | F2.8

    To be honest I never really considered the prospect of trying to shoot street photography with a digital medium-format camera. In fact, the only digital medium-format camera I’ve spent any considerable time using is the Pentax 645Z. And while capable in many situations, the 645Z is pretty cumbersome to walk around with, being 630 g/22.3 oz heavier than the Fujifilm.

    I already had my heart set on shooting a single focal length in the 40mm Rokkor, so I didn’t really mind that the only lens Fujifilm could provide was the 63mm F2.8, which is equivalent to 50mm. I really enjoy limiting my focal length when traveling, it tends to give me more mental clarity into what I’m seeing and forces me to move my feet and change my perspective more.

    Handling

    Out of camera JPEG | ISO 100 | 1/500 sec | F2.8

    In short, I love the ergonomics of this camera. The grip is extremely comfortable, it’s well-weighted (at least with the 63mm F2.8 on), and most control points can be accessed using the camera with a single hand.

    Stopped for a beer at the Tokyo Sky Tree, mostly to be a tourist, but also to take this photo of the GFX 50S at 350m above the city.

    In fact, I’d go as far to say that in terms of ergonomics and comfort, I’d prefer to spend the day walking around with the GFX 50S over a Nikon D810 or Canon EOS 5D SR (with similar-sized lenses) for a few reasons. For one, all three camera bodies weigh nearly the same: The 5D SR is 845 g (29.8 oz), the D810 is 879 g (31 oz) and the GFX 50S is 919 g (32.5 oz). Moreover, the grip on the Fujifilm is just so much more comfortable, especially when holding the camera for an extended period of time (believe me, I’ve spent very long days with the both the Canon and Nikon in tow).

    Fujifilm colors + a high resolution sensor = Lovely files.
    Edited to taste in ACR and cropped in slightly | ISO 100 | 1/400 sec | F6.4

    I also love the control layout. The top plate is very similar to that of the gold award-winning Fujifilm XT-2, though the GFX has no dedicated exposure compensation dial. Both the shutter speed and ISO dial can be locked. I mostly used the camera during the day in full manual with my shutter speed held at 1/500 sec to freeze any movement I encountered. When I saw something I wanted to shoot, I simply raised the camera to my eye and adjusted my ISO and aperture accordingly. This quickly became a very effective and natural way to shoot (though I acknowledge I could have kept my ISO closer to base in some of these images. Using Auto ISO also would have helped) .

    The GFX 50S gives users two ways to move one’s AF area or point: via the joystick or the touchscreen. Fujifilm could have easily skipped the touchscreen in a camera like this, but I’m glad they didn’t. While I did not use it much for AF point placement (mostly because the joystick is fabulous), I did enjoy employing the touchscreen while flipping back through images (also pinch to zoom is nice). Oh, and the screen flips out both vertically and horizontally (like on the XT-2), which is very useful. I found myself framing with the LCD probably 25% of the time.

    Notes from shooting

    When I framed up this image, there was no subject in it. But thanks to the sluggish AF, by the time the shutter fired, boom, I had a subject!
    Edited to taste in ACR | ISO 200 | 1/1250 sec | F5.6

    For the most part, my experience shooting with the GFX 50S was positive. Maybe it was all the canned coffee I was drinking, or the excitement of exploring somewhere new, but I thoroughly enjoyed myself while shooting with it. That said, I had a few frustrations:

    Autofocus, as you might expect from a contrast detect system, is quite sluggish. Not only that, it’s also pretty loud. And when fully racking focus from minimum to infinity, the 63mm F2.8’s lens barrel extends considerably. The camera is also a tad slow to start up. It’s really useful that the on/off switch is located in front of the shutter (like on any Nikon DSLR), but I missed a couple decisive moments due to the combination of sluggish start up and slow autofocus.

    That said, while AF is slow, it is both accurate and precise (in good light). This is the positive of a mirrorless camera using a CDAF system.

    AF speeds are a bit sluggish which sometimes resulted in me missing decisive moments. Fortunately I had a lot of time to compose this image.
    Edited to taste in ACR | ISO 400 | 1/1900 sec | F3.2

    I only shot using the GFX 50S in AF-S, using a single point. AF coverage is excellent, extending out nearly to the edge of the frame and, as I mentioned, the joystick is an effective way to painlessly move the AF point. When I first was handed the camera, I switched it into AF-C and instantly started to feel nauseous due to the constant, very slow hunting. I quickly switched it back to AF-S.

    Because I mostly shot with the GFX 50S in decent light while in Japan, once I was back in Seattle, I was curious to see how its autofocus would hold up in crummy light. The answer: poorly. Using a dimly-lit bar as my scene (settings around ISO 12800, 1/60 sec at F2.8), the GFX 50S proved largely unable to focus on anything. This is not all that surprising given its contrast-detect AF system. And I still got some shots, I simply switched the camera to manual focus and used focus peaking.

    Thank God the GFX 50S is weather-sealed. This was shot moments before it started to downpour and I had no umbrella.
    Edited to taste in ACR | ISO 400 | 1/800 sec | F4

    Another stumbling point is the EVF experience. Although resolution is pretty high (3.7 million dots) the viewfinder image gets noticeably ‘crunchy’ when focus is initiated, and moiré and ‘shimmering’ can be very distracting in some scenes, especially cityscapes.

    This didn’t bother me quite as much as it bothered my colleague, Barney. But as soon as he pointed it out to me, I couldn’t unsee it. 

    That’s pretty much it for things I did not like, back to things I did: the camera is weather-sealed, and not just a little weather-sealed, but very weather-sealed. One day, while out exploring part of the Asakusa district in Northeast Tokyo, I got caught in a heavy rain storm. Now, contrary to popular belief, we don’t get heavy rain in Seattle, just drizzles, mists and spits. This is to say, I was not prepared for the rain that would fall. Fortunately, the GFX 50S was.

    I was also really quite pleased with the camera’s battery life. Fujifilm introduced the new NP-T125 battery, and it’s enormous, which is awesome. I shot constantly for two and a half days without needing to charge it up once.

    The images

    I was able to crop this file in nearly 50% and still have a nice image thanks to the camera’s high pixel count.
    Edited to taste in ACR and cropped in considerably | ISO 12,800 | 1/90 sec | F2.8

    So I obviously enjoyed using the camera but what about the files? Well, you be the the judge. Adobe just updated Raw support for the camera earlier this week and boy did I have a fun time playing with these files. The above, for instance, is cropped in nearly 2x.

    Raw files also seem to have excellent dynamic range. I was able to pull exposures quite far. I was also able to recover a ton of blown highlights from the Sens?-ji Temple photo at the bottom of this article (first image in the gallery). This is due to a behavior we found regarding high ISO files having extra data in the highlights. But we’ll go more in depth on that in the review. To be honest, as a former X100-series owner, using this camera reminded me just how much I love Fujifilm colors and skintones. And processing Raw files allowed me to go back and apply any one of the lovely Film Simulations in post.

    I forgot how lovely Fujifilm colors are.
    Edited to taste slightly in ACR | ISO 800 | 1/500 sec | F4.5

    The take away

    There’s something really strange/enticing about being able to shoot casually with a digital medium-format camera. And despite some sluggishness in its operation, the GFX 50S was  surprisingly good for street and travel photography.

    And while the entire experience was a bit overwhelming from a cultural perspective (I speak no Japanese and spent a lot of time alone with my thoughts listening to Tom Waits) exploring Tokyo with what I believe to be one of the most exciting digital cameras in a long time, was truly remarkable. I’m already planning a return trip.

    So if you’re not going to read any of this article, here’s my takeaway: the Fujifilm GFX 50S is fun and easy to use and the files look awesome. What more can I say?

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    Articles: Digital Photography Review (dpreview.com)

  • Malta’s Azure Window, a photographer favorite, collapses in storm

    Photo by Berit Watkin. Used under CC license 2.0

    The Azure Window rock formation, familiar to photographers and Game of Thrones fans, collapsed into the sea in gale force winds early Wednesday.

    Authorities say that the collapse was unavoidable, and no man-made intervention could have saved it. Part of the stack supporting the formation’s ‘bridge’ collapsed in 2012, and in 2016 officials imposed a fine for walking on the arch.

    The loss of the rock formation is being mourned today by both locals and visitors who had photographed it in the past.

    Have you photographed the Azure Window? Do you have memories of visiting it to share? Let us know in the comments.

    Articles: Digital Photography Review (dpreview.com)

  • Insta360 Air turns Android phones into 360-degree VR Cameras, now available in US and Europe

    The Insta360 Air camera, which attaches to an Android smartphone via a microUSB or USB Type-C port, turns your phone into a 360-degree VR camera. It’s now available in the US and Europe. The Insta 360 Air uses, via a dedicated app, the smartphone display as a viewfinder and captures 360-degree stills and videos with its dual fisheye lenses.

    The camera offers real-time image stitching and comes with integrated live-streaming to YouTube and other platforms. Content can be shared directly from the app to Facebook, Twitter, WhatsApp and other social media platforms. The app allows for viewing content on-screen or through a VR headset. 

    The Insta360 Air can also be used as a 360-degree webcam on Skype and other video-chat applications after connecting to a PC’s USB 2.0 or 3.0 port. 360-degree webcam support for Mac should be provided soon via a software update. The Insta360 Air weighs only 26.5 grams and can capture 3K photos (3008 x 1504 pixels) and 2.5 K video (2560 x 1289 pixels) at 30 frames per second. The company also says real-time image stabilization will be introduced via a firmware update ‘in the coming weeks.’

    The Insta360 Air is now available for $ 129 at retailers in the US. The device can also be purchased in the UK, Canada, Spain, Germany, Italy, France and Japan through Amazon. We are currently working on a review of the device, so watch this space. 

    Press Release:

    Insta360 Air Arrives in US and Europe, Turns Android Phones into 360° VR Cameras

    Real-Time Image Stabilization on the Way
    SHENZHEN, Mar. 7, 2017 – The Insta360 Air, a smartphone add-on that instantly turns Android phones into 360-degree cameras, is now on sale across the United States and Europe. 

    “The Air is what we’re all about — cutting-edge technology that empowers people to capture and share experiences just the way they live them,” said J.K. Liu, CEO and co-founder of Insta360. “We can’t wait to see what the world’s Android users create.” 

    Android and iOS account for more than 90 percent of the world’s smartphone users, and the release of the Air means all of them can now enjoy seamless 360-degree photography and live-streaming. The Insta360 Nano, launched last year, offers a plug-and-play 360 experience to iPhone users. 

    The Insta360 Air’s simple, intuitive design makes capturing and sharing 360-degree content easier than ever. After connecting via USB Type-C or Micro-USB port, the Air uses a smartphone’s display as its viewfinder, allowing users to capture 360-degree stills and videos with the Air’s dual fisheye lenses and camera-interface app. 

    With real-time image stitching and integrated live-streaming support for YouTube and other platforms, users can broadcast immersive experiences to the world or share 360-degree content to friends on a host of popular social media — including Facebook, Twitter, WhatsApp and Messenger — directly from the app interface. Users can explore content on a screen or through a VR headset for an even more immersive experience. 

    The Insta360 Air experience isn’t limited to mobile. The Air also serves as a 360-degree webcam on Skype and other video-chat applications after connecting to a PC’s USB 2.0 or 3.0 port. 360-degree webcam support for Macs will also be introduced in a future update.

    The Insta360 Air captures 3K photos (3008 X 1504 pixels) and 2.5 K video (2560 X 1289 pixels) at 30 frames per second. Weighing only 26.5 grams and with a diameter smaller than a ping-pong ball, the Air is also the most portable consumer 360-degree camera on the market. 

    Real-time image stabilization coming soon 

    Insta360 is committed to providing ongoing support to both devices and users well after purchase. Air users can expect regular updates to the Insta360 Air app and camera firmware. Among the most-exciting updates on the horizon for the Air is the planned addition of an all-new feature, real-time image stabilization. 

    The advanced image-stabilization technology corrects unwanted vibrations and sudden directional changes as they happen, letting users capture smooth and steady live streams and video. 

    The technology will mean a vastly improved experience for viewers using an immersive VR headset. And by reducing the variation between adjacent frames of a live-stream or video, it also offers big bandwidth savings. Real-time image stabilization is set to be released via app update in the coming weeks, and Insta360 Nano users can expect the feature as well. 

    Priced at $ 129 USD, the Insta360 Air is now available via Amazon in the U.S., U.K., Canada, Spain, Germany, Italy, France and Japan. U.S. consumers can buy the Insta360 Air offline at B&H and Fry’s Electronics, with other regions also offering offline sales at select retailers.

    Watch the Insta360 Blog for more updates.

    Articles: Digital Photography Review (dpreview.com)

  • Adobe Lightroom CC 2015.9 arrives with new camera and lens support, loads of bug fixes

    In addition to its Camera Raw update, Adobe has released Lightroom CC 2015.9, adding support for additional cameras and lens profiles, as well as nearly two dozen bug fixes. The update is available now; existing users can download the latest version by selecting ‘Help’ > ‘Updates’ in the application’s menu.

    Adobe Lightroom 2015.9 adds support for the following cameras:

    • Canon PowerShot G9 X Mark II
    • Casio EX-ZR3200
    • Fujifilm GFX 50S
    • Fujifilm X100F
    • Fujifilm X-A10
    • Fujifilm X-T20
    • Leica M10
    • Olympus E-M1 Mark II
    • Panasonic DC-FZ80
    • Panasonic DC-GF9
    • Panasonic DC-GH5
    • Panasonic DMC-TZ82
    • Phase One IQ3 100MP (“S” compression mode not supported)

    In addition to the new camera support, Lightroom 2015.9 has gained support for more than two dozen lens profiles, including for lenses from Nikon, Canon, Apple, Sony, and DJI. The full list of lens additions can be found here.

    Lastly, the new Lightroom CC update corrects 21 different bugs and issues as detailed in the following changelog:

    • Upright error where the “Update” button was incorrectly enabled when Upright is unable to find a correction.
    • Lens Profile Auto Matching was not working for Zeiss Batis 85mm lenses.
    • Cursor movements on Point Curves were erratic
    • Issue related to abnormal Lightroom exit when using Full Screen mode. The issue only occurred on Mac OS 10.12 (Sierra)
    • Develop Module Locked after deleting images while using two displays
    • Live Photos created on iPhoto caused the JPEG to be treated like an XMP sidecar file
    • Instead of deleting currently selected photo, deletes face tag from previous viewed photo
    • Images from Canon EOS G7X MK II sometimes had a green color cast
    • Unable to change the image after deleting a rejected photo in develop module
    • Export was taking longer than expected.
    • Unable to import compressed raw files from Fujifilm XT-2 and X-Pro2
    • iPhone video Capture Time is shifted upon Import
    • Slideshow Export as JPG text overlay issue
    • If using 2-byte characters for catalog path, unable to backup
    • Problem with map module (Windows)
    • Cannot access Auto Import Settings form File menu
    • The zoom does not work properly after the update
    • Lightroom 6.8: Memory Leak
    • Keyboard shortcut X for rejecting an image in Library not available (French)
    • Erroneous warning message on Catalog Backup
    • Messing up file ordering with panoramas

    Via: Adobe Blog

    Articles: Digital Photography Review (dpreview.com)

  • Apple captures 79 percent of global smartphone profits with 14.5 percent market share

    According to Flickr the iPhone is the most popular camera(s) in the world and even 10 years after the original model was launched, iPhone continues to generate enormous profits for Apple. According to research from Strategy Analytics, that was obtained by The Korea Herald, in 2016 the iPhone captured 79 percent of profits in the global smartphone market, at a market share of only 14.5 percent. In absolute numbers that is $ 44.9 billion out of a $ 53.7 billion total profit.

    Apple’s biggest rival Samsung leads the market share ranking in front of Apple at 20.7 percent but only grabs 14.6 percent of the profit, amounting to $ 8.3 billion. This is a similar picture to previous years when, thanks to very high margins, Apple was able to claim a much bigger proportion of smartphone profits than its market share would suggest. 

    With the upcoming iPhone 8 models expected to bring a range of innovative features at what are projected to be high price points, the situation is unlikely to change in 2017. If Apple continues to invest profits into camera development, we could all benefit from its success.

    Articles: Digital Photography Review (dpreview.com)