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Nikon has released firmware updates for the Nikon D3400 and the Nikon D5600, both of which have received a very small improvement that addresses the same bug: “Fixed an issue that resulted in unreliable connections between the camera and the iOS 10.2 version of the SnapBridge app.“
The Nikon D3400 firmware is updated to version 1.11 and is available here; the Nikon D5600 firmware is updated to version 1.01 and is available here.
Via: NikonRumors
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The newly announced Sigma 14mm F1.8 DG HSM Art has the low light shooters on our staff all excited. Super-wide lenses with such fast maximum apertures are rare, and we’ve got high hopes for one with Sigma’s ‘Art’ designation. We jumped all over the chance to take a pre-production version of the lens out for a spin in Yokohama, Japan during CP+ 2017. We’re looking forward to spending more time with the lens, but for now here are some initial samples.
See our Sigma 14mm F1.8 DG HSM Art
pre-production samples
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Please note that all samples in this gallery were taken with a pre-production lens
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Ricoh has released pricing and full specifications for the Ricoh R Development Kit 360 degree live streaming camera that was first shown to the public at CES earlier this year. The company has also announced it is starting to take pre-orders for the device on the Ricoh R website starting in May. The kit will be available at a price point of $ 499.
The RICOH R Development Kit is capable of live-streaming fully spherical, 360-degree video in 2K resolution at 30 frames per second. The footage is stitched on the device in real time to fit the standard Equirectangular Projection Format. Streaming video can be output via HDMI or USB, and, when using a power adapter, continuously up to 24 hours. The camera can also record onto a micro SD card.
The kit consists of the camera, camera stand, a software development kit (SDK) as well as image-control tools and source code. Thanks to an open API the camera is controllable via USB. Ricoh says potential applications include live streaming of events, telepresence, computer vision and surveillance. Full specs are available on the Ricoh website.
Press Release:
TOKYO and BARCELONA (Mobile World Congress 2017, Hall 8.0 J3), February 27, 2017?Ricoh today announced it is taking pre-orders of the RICOH R Development Kit, featuring the industry’s first camera capable of delivering up to 24 continuous hours of fully spherical, 360-degree live video streams. Showcased at Mobile World Congress 2017, the camera can be pre-ordered from http://ricohR.ricoh, with shipments scheduled to start in May 2017. The sales price will be $ 499.
Using Ricoh’s fully spherical imaging technology, the RICOH R Development Kit can live-stream fully spherical, 360-degree images in 2K resolution at 30 frames per second. Unique to RICOH R technology is the stitching of video within the camera in real time to the Equirectangular Projection Format, which is the standard format for fully spherical images. Video is then output via HDMI® or USB, and—by using an AC power adapter– continuous, live streaming up to 24 hours is possible. The camera records onto a micro SD card, which enables the body to be extremely thin and lightweight.
The RICOH R Development Kit consists of the camera, camera stand, downloadable software development kit (SDK), plus image-control tools and source code. Using the camera’s open API and the “RICOH R Console” image-control tool source code available through GitHub, the camera can be controlled via USB, which will enable its use in a variety of environments and industries such as telepresence and computer vision.
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The Sony FE 85mm F1.8 joins Sony’s full-frame E-Mount lineup as the most affordable native lens that offers a short telephoto focal length. Other full-frame systems have had comparably low-cost 85mm lenses for quite a while, and it’s nice to see Sony filling in some of the gaps for budget conscious users.
The FE 85mm balances superbly on Sony’s a7-series bodies, and though it’s no G Master lens, it feels solid enough. Focusing is silent and fairly quick (contrary to Sony’s ‘nifty fifty’ FE 50mm F1.8), and it has excellent sharpness wide open, even well off-center. It’s even sharper by F2.5, seemingly peaking by F4. There’s an awful lot of purple and green fringing wide open though, as you’ll see in our gallery, but this is to be expected, and is indeed common, in lightweight fast primes (they’re far less distracting by F4.5). Careful software corrections might be able to take care of most of it (remember: it’s lateral CA that’s easy to remove, not axial), albeit typically at a cost to other areas of the image – download a few of the Raw files to see for yourself.
Of particular interest is our observation that this lens, currently, focuses wide open* on an a7R II (or, technically, opens up to F2 if you’ve selected an aperture smaller than wide open). This addresses one of our largest complaints with recent Sony lens releases that focus stopped down, often slowing focus in low light or forcing otherwise capable phase-detect AF systems to revert to contrast detect-only. It appears that, at least for now, Sony’s recent 100mm STF and 85mm F1.8 lenses address this issue, and without an image cost to boot: take a look at our aperture series with our LensAlign target here (please choose the option to ‘Open Link in New Window’), and you’ll note no focus shift as we stop down (the lens was focused once wide open, then switched to MF for the series). You can also judge problematic apertures for axial CA in this series, as well as how circular out-of-focus highlights remain as you stop down the 9-bladed aperture.
Oddly, the same doesn’t hold true on other Sony bodies: the lens focuses stopped down at the shooting aperture on an a7 II, a7S, and a6300/6500. Oddly, this sometimes leads to slight front-focus at smaller apertures on those cameras, though it’s not a huge deal as the focus shift is often masked by the increased depth-of-field. It’s interesting from an academic standpoint though – as focusing at the selected aperture should increase focus accuracy, not decrease it. We have our hypotheses, but for now, we’ve reached out to Sony for comment.
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See our Sony FE 85mm F1.8 sample gallery
*Note this only holds true for AF-S and for initial focus acquisition in AF-C, after which the lens stays stopped down, presumably to avoid having to constantly open and close the aperture during continuous drive. We still wish this weren’t the case, as (1) AF-C is often useful even in Single drive mode, and (2) DSLRs are fully capable of opening and closing the aperture in between shots, even at 14 fps. There may be other nuances we’re missing that explain why Sony chooses to focus stopped down, but the inconsistencies between bodies is confusing. Rest assured, we are in constant discussion with Sony engineers about this issue.
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| Mr. Mizoguchi and Mr. Tokura took the time at CP+ 2017 to discuss Canon’s future with us. |
Just prior to CP+ 2017, Canon announced three new consumer cameras in the mirrorless EOS M6, the DSLR EOS 77D and EOS Rebel T7i . We had the chance to catch up with Canon while in Japan covering CP+ and discussed the company’s current state of affairs, as well as its future (in relation to mirrorless).
Specifically, we spoke with Go Tokura, Executive Officer and Chief Executive for Image Communication Business Operation and Yoshiyuki Mizoguchi, Group Executive of ICB Products Group, Image Communication Business Operation.
Please note that this interview was conducted through an interpreter, and has been edited slightly for clarity and flow.
We can break down our focus into two areas: improving our network connectivity and video. We still have a lot of room to grow in the video area in terms of what we can offer. And in terms of customer strategy, we want to continue to build new users, specifically enticing more entry-level users.
Whether you’re a professional or at the entry-level, you likely want high-quality video. And we think there is potential for the entry-level to grow. So we will obviously be looking at introducing our 4K technologies down to the entry-levels at some point.
But introducing 4K to the entry-level is linked to the 4K TV market. How quickly that takes off and penetrates will tell us how and when we should introduce 4K to more affordable cameras.
We obviously have to look at the technical feasibility of it, cost-wise, as well as [the challenge of power consumption]. Those factors will tell us how we will introduce 4K technologies going forward.
We will continue to challenge and overcome these technical hurdles that we are seeing at moment in introducing 4K into our entire product lineup. But it is important to keep in mind that we don’t want to harm the original inherent concept of these products. 4K should compliment, rather than hinder.
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| The Canon EOS Rebel T7i was announced earlier this month. It shoots 1080/60p. Will we ever see a Rebel with 4K video? Probably, it’s just a matter of when. |
We don’t have any plans to enter the consumer display panel market.
The Cinema Lens market, including for mirrorless, is a great market. When it comes to cinema lenses you have demand for everything from the professional to the affordable. Overall we’d like to increase the breadth of our share of the market on the affordable end. So we will continue to spend our efforts on that.
That is a difficult question to respond to with a simple answer because we don’t have a particular number set in terms of getting the market share for the mirrorless market. This is because we are a company that produces [both mirrorless and DSLR], as a total package.
Our intention is to become number one in the overall ILC market: mirrorless and SLR. Different regions would have different penetration and different market share of mirrorless products.
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| The EOS M5 is Canon’s flagship mirrorless camera. |
In the Southeast Asian market we’re seeing a real high demand for mirrorless, while the US has the least mirrorless penetration. In terms of the Japanese market we’re seeing a slight majority [of] mirrorless at this time. But having said that, compared to two years ago we’re now seeing a slowing down of mirrorless taking over. We were expecting to see more mirrorless taking off, keeping that momentum, but that has not happened.
Obviously we think it could be possible, there is a potential, but we do not want to put a time frame on that.
The demand for that is still quite limited and so we won’t be able to say. But obviously as people start to look for more professional-level quality and performance, we will extend our lens line to respond to what the customer is looking for.
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| Canon has yet to introduce a Dual I.S. system into its mirrorless cameras for fear the stabilized sensor will increase the size and weight. |
We’re letting the customer, market and demand tell us how we should go about approaching different regions. Because if you’re looking at a market with a high level of mirrorless penetration, we would obviously look to push forward with the EOS M series in that region. And we will watch and see: are Rebel users moving on to the EOS M? Frankly, if that becomes inevitable, it is something we will support. Having said that, overall we are looking to simply be number one the combined SLR and mirrorless market, offering a total package.
We do get customers saying they want more and better IS. However, in the mirrorless market for us, it’s all about satisfying the desire for a small, light-weight camera. In terms of introducing sensor-based stabilization into our EOS-M series, I think it will add weight, which might deter some of our mirrorless customers. Which is why we think optical IS is the way to go for us.
That said, we are aware that our competitors have already introduced this style of sensor-based stabilization. And we do see the merits of having optical and sensor based IS working together. What we’re looking at is trying to evolve ourselves in terms of developing technology so that we can downsize and reduce the weight of a sensor-based IS system.
Yes that is the result of direct user feedback, like that from our customer service centers. Most responses are regarding “how to use” Wi-Fi, which implies that many customers find it difficult to use. Overall, we can summarize what customers are looking for, regarding connectivity, is overall ease-of-use. To respond to that demand, we’re working to make connecting simpler and have incorporated Bluetooth technology into some of our cameras.
We’re always looking to see what sorts of new visual means of expression we can offer to our customers, 360 imaging included. So, yes, we are considering how we can leverage 360 technology.
That said, we’re already seeing a lot of 360 cameras out there in the market. There are many players at the moment, but none have actually achieved big, great success. I think that’s telling, [and suggests that] that there is something lacking. In other words, if we were to come out with a Canon 360 camera, we would need to have Canon-like added value, ideas and concepts. Unless we do that I think there’s no meaning.
There is a lot of hype at the moment. But in terms of new visual expression, I think there is a value 360 technology adds to the visual world. i don’t think it will die out as 3D did.
Another way to look at it is 360 technology is not just about taking the photo, or the satisfaction of making an image , but how to display it, and how to leverage what you’ve actually taken. I think there has to be a total package for 360 technology to advance into the future.
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| Will Canon introduce a VR camera like Nikon did with the KeyMission 360? Only if they see it adding value to the market. |
I can’t give a detailed answer to this question, but we do have these customer demands and we’re hearing them. But it’s not to say we’ll be shifting a lot of focus onto such a product, but its rather we are feeling out of what the customer is looking for at the moment.
However I don’t think making such a camera is just about the retro design, it’s about having a retro look and feel, but with the evolution of features Canon currently has to offer.
It’s difficult to project into the future. Looking at mirrorless and it’s current state at the moment, and the timeframe between now and 2020, I don’t think I can envisage mirrorless at the Olympic games.
People [like Reuters, AP etc.] who come as press to something like the Olympics and bring their own gear, obviously they can’t make mistakes – its a once in lifetime opportunity. So my guess is the majority will still be using the cameras they are used to for the time being. In other words, DSLRs.
I can say in terms of new products: doubtful. But there are people who still love film and we still offer the EOS-1v from our existing line of film cameras.
Editor’s note:
We’ve interviewed Mr Tokura on several previous occasions, and we were pleasantly surprised with the responses what we received to a lot of questions.
Specifically, it is encouraging to hear just how much Canon values the feedback of its customers. It seems like a lot of decisions about the future are based, at least in part, on customer feedback. All the more reason to be a vocal consumer!
On the same point, it’s exciting to hear that Canon is beginning to regard 4K video capture as something that perhaps it needs to offer in all ILC products, regardless of price. I just hope it makes its way to the Rebel series soon.
Canon’s response to our question about a potential entry in the VR realm was interesting. Essentially, they feel that it is something they will only commit to if they truly feel like they can launch a 360 product that will do right by their customers.
On a similar note, though we may never see an a digital reincarnation of the AE-1, it’s pretty cool to hear that Canon is aware of a customer desire for a retro-designed Canon camera, but (unsurprisingly) won’t make one unless it marries current tech with old-school design principles.
That said, we were a little disappointed to see Canon continue to view mirrorless as a consumer technology and not as something with a potential, in the near future, to be something pro sports and photojournalists reach for.
Canon is a brand with a strong identity, and while we at DPReview may feel like perhaps they entered the mirrorless market a little on the late side, Canon’s caution into jumping into industry trends too quickly doesn’t seem to have done the company any obvious harm. But please, give us 4K at the consumer level.
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| Well-rounded, polished and reliable: mid-to-high end DSLR cameras have been Nikon’s bread and butter for years. |
In its first public statement since the DL series’ cancellation, Nikon has stated to the Japanese press (Google translated here) that it will be focusing chiefly on ‘mid-to-high end SLR cameras and lenses and mirrorless cameras that can make the most of their strengths.’
Good gravy, it’s about time.
Sure, 2016 was the year of the D5 and widely adored D500 DSLRs, but those two cameras stand against a pretty dismal backdrop.
That backdrop includes the continued release of low-end Coolpix cameras into a market segment that’s been obliterated by smartphones (though admittedly Nikon isn’t alone in this regard), the ailing Nikon 1 series which hasn’t seen a new camera body in almost two years or a new lens in almost three years, and the KeyMission series, which has had a tepid reception at best (and personally, I wish they’d taken whatever development costs the KeyMission ate up and poured those into the DL series instead).
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| Ah, the Coolpix A300. This 2016 release features a 1/2.3″ sensor, 720p video and a low-resolution 230k-dot rear screen. Please Nikon, why? |
On most recent occasions when the company has stepped outside of its traditional DSLR realm, Nikon’s has stumbled somewhat. To illustrate, imagine for a minute that these various camera market segments are house parties (that’s a bit of a stretch these days, but bear with me here).
The Nikon 1 series got stuck in traffic on the way to the mirrorless party, and finally arrived only to realize it totally misread the dress code. As for the KeyMission series, it’s way past fashionably late to the action camera party, and brought a twelve-pack of what everyone’s already sick of drinking.
And the DL series, well, it seems to have just pre-funked too heavily and didn’t make it out at all.
There are several things that are disappointing about this. With the 1 series especially, Nikon has had years and years to flesh out a lens lineup to really make the most out of that small package and incredibly fast sensor (remember, they could shoot 60 fps Raw bursts years before the likes of the Olympus OM-D E-M1 Mark II, and had incredible on-sensor PDAF to boot). The company has simply let the whole line stagnate into obscurity. This stands in stark contrast to the company’s DSLR line, which has used the same basic lens mount for the last fifty-eight years. So it clearly shouldn’t have issues with commitment.
The KeyMission is also, in my opinion, an ill-conceived scheme – after all, they’ve come about just as GoPro’s stock and sales are tanking in the wake of competent and ever cheaper Chinese competitors. The KeyMission line is literally years too late, the rocky VR market in 2016 didn’t do the 360 model any favors. I can understand Nikon’s desire for some form of diversification given the state of the camera market as a whole, but this just wasn’t the right way to go.
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| Sure, the KeyMission 170 is ruggedized without a case, but it’s entering a very crowded and very competitive market. |
But perhaps what’s most disappointing about all this is that, contrary to the views most keyboard warriors seem to espouse these days, Nikon is capable of true greatness, and even some spurts of innovation. It’s just that most of that is wrapped up in the DSLR world of the D5 and D500.
Those two cameras remain in our possession, with Nikon’s permission, as the current autofocus tracking benchmarks against which most other cameras are measured; 3D Tracking was an incredible innovation with the D3 that has been steadily evolving ever since, and it changes the way you shoot for the better. The D5 / D500’s use of XQD slots combine with incredible overall responsiveness to ensure that you are never waiting for those cameras; they’ll only be waiting for you. They’re the first DSLRs with Automatic AF Fine Tune, bringing DSLR autofocus one step closer to the accuracy of on-sensor autofocus systems in mirrorless cameras. There’s also the AF-S 105mm F1.4G, a world’s-first lens for the company’s venerable DSLRs.
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| Now that’s a nice combo. |
In short, if Nikon’s DSLRs are so competent already (QC issues such as the D600 fiasco notwithstanding), it’ll be interesting to see what the company can do with more focus and more resources available for their development. One thing’s for sure; we’re all hoping for some new ‘professional’ DX lenses to go with the ‘professional’ D500, but even taking this new statement into consideration, I’m not holding my breath.
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| The Nikon 1 V3, the latest ‘enthusiast’ offering in the 1-series lineup, was announced nearly three years ago. |
Stepping aside from the world of DSLRs, Nikon’s statement foregoes any specific claims concerning the KeyMission series (hmmm…), and promises a renewed focus on ‘mirrorless cameras that can make the most of their strengths.’ What that really means is anyone’s guess, though the stagnation of the 1 series indicates Nikon will be heading a different direction than continued development of the ‘CX’ system.
The brief statement closes with the mention of a high-class compact in the future, but given the incident with the DL series, the company will ‘judge the next development carefully.’
Coolpix A Mark II, please. But maybe with a name other than ‘Coolpix.’
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Small but mighty, Godox’s Wistro AD200 speedlight offers wireless support with Godox’s 2.4G X system and 200Ws / GN 52 output. That’s pretty incredible – for comparison, many speedlights struggle to put out just 100Ws.
The unit is powered by a rechargeable lithium-ion battery pack rated for 500 full power flashes, and provides TTL support with Canon, Nikon and Sony systems when used via wireless control. Output can be adjusted in eight steps, and the AD200 can be used with a number of accessories and diffusers.
The AD200 looks to be available for pre-order from Adorama under the FlashPoint brand for $ 330.
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Alex Andriesi, Romania,
Shortlist, Open, Enhanced, 2017 Sony World Photography Awards
The World Photography Organisation has announced the shortlisted photographers for what it claims is the world’s largest photography competition – the Sony World Photography Awards. The WPO says that it received 227,596 images in total across categories for amateurs, professionals and students. Photographers from 60 countries are represented among the shortlisted and commended photographs, while entries from 183 countries were submitted.
Professional photographers are competing for the top prize of $ 25,000 plus Sony digital camera equipment, while the best amateur entry will win $ 5000 plus Sony kit and the best student will collect €30,000 of Sony equipment for his or her educational establishment.
The overall and category winners will be announced at a ceremony in London in the 20th April and an exhibition of the winning images will be displayed at London’s Somerset House. Martin Parr has been announced as the winner of the Outstanding Contribution to Photography Prize and will be exhibiting alongside the winners, as well as holding a talk.
For more information, and to see a gallery of all the shortlisted and commended images, visit the World Photography Organisation website.
Press Release
Celebrating its 10th year anniversary, the Sony World Photography Awards is the world’s largest photography competition. The awards recognize and reward the finest contemporary photography from the last year entered into any of the awards’ four competitions.
“There was a truly global reach to the Sony World Photography Awards judging this year- the images were more diverse and broad ranging than I have ever seen before. In its tenth year, I can confidently say that the Sony World Photography Awards and the fine art of photography are doing extremely well.” Zelda Cheatle, Chair of the Professional jury / Curator (UK)
February 28, 2017: The shortlisted (top 10) and commended (top 50) photographers for all categories of the 2017 Sony World Photography Awards, the world’s largest photography competition, are announced today. Photographers entered 227,596 images across the awards’ Professional, Open and Youth competitions – shining a spotlight on the medium of photography and the beauty of its art.
Produced by the World Photography Organisation, 2017 marks the 10th anniversary of the awards and a decade-long partnership with its headline sponsor, Sony.
The Sony World Photography Awards’ shortlist represents the world’s finest contemporary photography captured over the last year, and displays a huge diversity of extraordinary images in terms of genres, styles and subject matter. Forty-nine countries are represented on the shortlist, reinforcing the awards’ international appeal and unique ability to present the greatest images taken by photographers from all corners of the world on a truly global scale. Photographers from a further 11 countries are seen within the commended list.
The shortlisted photographers across the Professional, Open, Youth and Student Focus competitions impressed the judges with solid narratives and strong visual language complementing the subject matters. Within the shortlist are stunning architectural images and subtle landscapes alongside extraordinary series depicting the dominating world events of the last year. Stand out subject matters include a touching insight into the domestic life of women in Saudi Arabia, heartfelt confessions of Chinese school children, Russian body builders preparing to flex muscle on stage and an intimate series of a private battle with a rare medical condition.
Key shortlists facts and stats
To view the commended photographers of the Open competition please go to www.worldphoto.org/winners-galleries
Commenting about this year’s shortlist, Scott Gray, CEO, World Photography Organisation, notes: “This year, more than any other, the entries to the Sony World Photography Awards have shown great integrity and are characterized by their considered approach. Beautiful works of photographic art, not snapshots, have been presented to the judges and I am delighted to see that our esteemed juries have chosen to reward the pure skill, artistic interpretation and thoughtfulness of the photographer, rather than simply the subject matter the photographer has captured.
He continues: “The Sony World Photography Awards has celebrated photographers and photography throughout its ten-year history, we now look forward to ensuring that photography has a global platform and is recognised as the dynamic, exciting and accessible medium it is.”
The Sony World Photography Awards are judged anonymously by internationally acclaimed industry professionals, carefully selected by the World Photography Organisation.
The 2017 Professional competition was judged by Zelda Cheatle (Chair of the Judges), Curator (UK); Aida Muluneh, Founder/Director, Addis Foto Fest (Ethiopia); Allegra Cordero di Montezemolo, Curator & Head of Exhibitions, Centro de la Imagen (Mexico); Denis Curti, Curator and Journalist (Italy); Russ O’Connell, Picture Editor The Sunday Times Magazine (UK) and Françoise Callier, Program Director at Angkor Photo Festival & Workshops (France). The Open and Youth competitions were chaired by Damien Demolder, Photographer and Journalist (UK), and Student Focus was judged by Andrea Kurland, Editor-in-Chief of Huck (UK); Dan Rubin, Photographer & Artistic Director (UK) and Jennifer Shaw, Founder and Creative Director, PhotoNOLA (USA).
Commenting on the Open and Youth shortlists, Damien Demolder said: “It has been a pleasure and an inspiration to be exposed to such a volume of great work, and a privilege too that I could share in the personal moments, the joys, tears, life and losses of photographers from all around the globe who recorded their experiences through their pictures. The Youth competition was a special delight to judge and I was touched on many occasions by the openness and fearless expression of the entries.”
Student Focus judge Andrea Kurland adds: “This year’s shortlist helps cement why awards like these are more important than ever. The work submitted was original, thoughtful and brave – a healthy reminder that talent will always win out and rise above the noise.”
The shortlisted photographers now compete for the latest Sony digital imaging equipment and inclusion in the 2017 awards’ book plus cash prizes of $ 25,000 (USD) for the Photographer of the Year, $ 5,000 (USD) for the overall Open winner and €30,000 (Euros) of equipment for the university of the Student Focus winner. All winners will be announced at an awards ceremony in London on April 20, 2017.
The winning, shortlisted and commended images will all be exhibited as part of the Sony World Photography Awards & Martin Parr – 2017 Exhibition at Somerset House, London. The large-scale exhibition will open April 21 and will feature rarely seen work by Martin Parr, recipient of the awards’ Outstanding Contribution to Photography prize. The exhibition will run in London until May 7 and will then go on a worldwide tour. Exhibition tickets are available via www.worldphoto.org/2017exhibition
NOTES
Sony World Photography Awards forthcoming announcements
March 28, 2017 – Open and National Award winners announced
April 20, 2017 – Photographer of the Year plus Professional category winners and Open, Youth and Student Focus Photographers of the Year revealed at ceremony held in London
April 21 – May 7, 2017 – Sony World Photography Awards & Martin Parr – 2017 Exhibition at Somerset House, London
SHORTLISTED PHOTOGRAPHERS
PROFESSIONAL CATEGORIES
Rewarding the best body of work across 10 categories. Up to 10 photographers shortlisted in each category. Category winners will be announced April 20, alongside the Photographer of the Year chosen from the ten category winners.
Architecture
Adi Bulboaca, Romania
Alessandro Piredda, Italy
Alissa Everett, US
Diego Mayon, Italy
Dongni, China
Julien Chatelin, France
Marvin Systermans, Germany
Zsolt Hlinka, Hungary
Conceptual
Alexander Anufriev, Russia
Carla Sutera Sardo, Italy
Jeroen De Wandel, Belgium
Joa?o San, Brazil
Sabine Cattaneo, Switzerland
Gao Peng, China
Contemporary Issues
Amber Bracken, Canada
Andrea Foligni, Italy
Danial Khodaie, Iran
Javier Arcenillas, Spain
Li Song, China
Lorenzo Maccotta, Italy
Tasneem Alsultan, Saudi Arabia
Current Affairs & News
Alessio Romenzi, Italy
Asger Ladefoged, Denmark
Ivor Prickett, Ireland
Javier Arcenillas, Spain
Joe Raedle, US
Karl Mancini, Italy
Pas?a I?mrek, Turkey
Sebastian Castan?eda, Peru
Daily Life
Alice Cannara Malan, Italy
Asger Ladefoged, Denmark
Christina Simons, Iceland
Ioana Moldovan, Romania
Majlend Bramo, Italy
Michael Tummings, UK
Nader Saadallah, Egypt
Sandra Hoyn, Germany
Toby Binder, Argentina
Yulia Grigoryants, Armenia
Landscape
Dino Kuznik, Slovenia
Frederik Buyckx, Belgium
Jayanta Roy, India
Kurt Tong, UK
Peter Franck, Germany
Tom Jacobi, Germany
Natural World
Ami Vitale, US
Christian Vizl, Mexico
Esther Whyatt, UK
Felicity McCabe, UK
Mariusz Prusaczyk, Poland
Tommaso Rada, Italy
Will Burrard-Lucas, UK
Portraiture
Craig Easton, UK
Dario Mitidieri, Italy
George Mayer, Russia
Giulia Piermartiri & Edoardo Delille, Italy
Mahesh Shantaram, India
Romina Ressia, Argentina
Ren shi Chen, China
Snezhana Von Buedingen, Russia
Sport
Andrea Rossato, Italy
Eduard Korniyenko, Russia
Jason O’brien, Australia
Mark Gong, US
Yuan Peng, China
Luo Pin Xi, China
Still Life
Ansgar Sollmann, Germany
Julien CAÏDOS, France
Christoffer Askman, Denmark
Grant Hegedus, UK
Henry Agudelo, Colombia
Paul Sanders, UK
Shinya Masuda, Japan
OPEN CATEGORIES
Rewarding the best single images across 10 categories. Up to 10 photographers shortlisted in each category. Category winners will be announced March 28, and Open Photographer of the Year revealed April 20.
Shortlist
Architecture
Barry Tweedy-Rycroft, UK
Claudio Cantonetti, Italy
Frank Machalowski, Germany
Franklin Neto, Portugal
Lester Koh Meng Hua, Singapore
Nick Frank, Germany
Oscar Lopez, Germany
Robert Walker, UK
Tim Cornbill, UK
Ute-Christa Scherhag, Germany
Culture
Beniamino Pisati, Italy
Emrah Karakoç, Turkey
Jianguo Gong, China
Mark Languido Vicente, the Philippines (based in Kuwait)
Michal Plachta, Poland
Pawe? J?drusik, Poland
foley hits, Malaysia
Radu Dumitrescu, Romania
Salvatore Mazzeo, Italy
Vito Leone, Italy
Enhanced
Alex Andriesi, Romania
Andrea Torres Balaguer, Spain
Chun Kin Tong, China
Gil Josquin, Brazil
Harry Botley,UK
John Chen, China
Julian Schievelkamp, Germany
Lise Johansson, Denmark
Sergey Dibtsev, Russia
Yong Lin Tan, Malaysia
Motion
Jimmy Reid, Scotland
Olga Sinenko, Russia
K. W. Hon (OqWing), China
Argus Paul Estabrook, US (based in South Korea)
Gül Y?ld?z, Turkey
Stacy Anguiano Cain, Mexico (based in the US)
Mariusz Stanosz, Poland
Oktay Suba?i, Turkey
Camilo Diaz, Colombia
Luigi Panico, Italy
Nature
Francesco Russo, Italy
Miyono Okamoto, Japan
Hiroshi Tanita, Japan
Christina Roemmelt, German (based in Austria)
Ann Ric Lau, Malaysia
Sorin Rechitan, Romania
Josselin Cornou, France (based in Australia)
Sakuma Masayasu, Japan
Elzbieta Kurowska, Canada
Maximilian Conrad, Germany
Portraits
Dalibor Tomic, Serbia
Carl Jeffers, UK
Saeid Moridi, Iran
Alexey Munich, Russia
Carloman Macidiano Céspedes Riojas, Peru (based in Argentina)
Anisleidy Martínez Fonseca, Cuba (based in the Netherlands)
Alexander Vinogradov, Russia
Tim Topple, UK
Fajar Kristianto, Indonesia
Tadas Kazakevicius, Lithuania
Still Life
Nick Pershai, Belarus
Gijs van den Berg, the Netherlands
Zani Arkadina, Ukraine (based in Germany)
Sergey Dibtsev, Russia
Iwona Czubek, Poland
Maxim Korotchenko, Russia
Wilson Lee, Hong Kong
Esthaem, Austria
Andres Gallardo Albajar, Spain (based in Estonia)
Massimiliano Balo’, Italian (based in the UK)
Street Photography
Caio Vita, Brazil (based in the Netherlands)
Jelena Jankovic Serbia
Jian Seng Soh, Malaysia
Gimmi Corvaro, Italy
Konstantinos Sofikitis, Greece
Ge Wang, China
Dina Alfasi, Istrael
Hendra Permana, Indonesia
Ash, Japan
Tavepong Pratoomwong, Thailand
Travel
Jose Maria Perez Nuñez, Argentina
Stephane Couture, Canada (based in the US)
Rob Wilson, Canada
Placido Faranda, Italy (based in Switzerland)
Zhu Jianxing, China
Vladimir Zhoga, Russia
Ralph Gräf, Germany
Swapnil Deshpande, India
Achim Thomae, Germany
Fanjing Lu, Chinese
Wildlife
Andreas Hemb, Sweden
Alessandra Meniconzi, Switzerland
Jan Ryser, Switzerland
Eugene Kitsios, The Netherlands (shortlisted twice)
Fan Chen, China
Bar Kaufman, Israel
Natsumi Handa, Japan
Nigel Hodson, UK
Commended
For the full list of commended photographers in the Open competition (up to 40 per category) please go to www.worldphoto.org/winners-galleries
YOUTH COMPETITION
Photographers aged 12-19 were asked to respond to a theme of ‘beauty’ with a single image. The Youth Photographer of the Year will be announced April 20.
Helen Kiparissa, Greece
Bella Wong, China (based in the UK)
Andrej Kiripolský, Slovenia
Taciu Rares, Romania
Katelyn Wang, US
Iryna Sylinnyk, Ukraine
Yujia Dou, China
Tanya Chinareva, Russia
Frederik Marks, Germany
Johnathan Chen, US
STUDENT FOCUS
Open to all students worldwide studying photography. The Student Photographer of the Year will be announced April 20.
Shravya Kag, School of Visual Arts, US, (Indian nationality)
Tatsuki Katayama, Kyoto University of Art and Design, Japan
Stewart Main, Edinburgh Napier University, Scotland
Ruby Gaunt, Nottingham Trent University, UK
Cole Ndelu, Stellenbosch Academy of Design & Photography, South Africa
Nursyafiqah Azlan, Multimedia University, Malaysia
Nadine Hackemer, Nuremberg Institute of Technology Georg-Simon-Ohm Faculty of Design, Germany
Sarah Schrimpf, Academy of Fine Arts Munich, Germany
Michelle Daiana Gentile, Motivarte, Argentina
Tayla Martin, Charles Sturt University, Australia
FURTHER NOTES
The Professional competition of the Sony World Photography Awards is judged by an independent panel of industry experts selected by the World Photography Organisation. The headline sponsor of the awards, Sony, is not involved in the image selection of judging of this competition.
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Anisleidy Martínez Fonseca, Cuba,
Shortlist, Open, Portraits, 2017 Sony World Photography Awards
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Carloman Macidiano Céspedes Riojas, Peru,
Shortlist, Open, Portraits, 2017 Sony World Photography Awards
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Christian Vizl, Mexico,
Shortlist, Professional, Natural World, 2017 Sony World Photography Awards
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Emrah Karakoç, Turkey,
Shortlist, Open, Culture, 2017 Sony World Photography Awards
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Masayasu Sakuma, Japan,
Shortlist, Open, Nature, 2017 Sony World Photography Awards
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Tim Topple, United Kingdom,
Shortlist, Open, Portraits, 2017 Sony World Photography Awards
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Vito Leone, Italy,
Shortlist, Open, Culture, 2017 Sony World Photography Awards
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German company Porsche Design has teamed up with industry giants Intel, Microsoft and Quanta Computer to launch the first product in its new Porsche Computing product line, the Porsche Design Book One.
The Book One is a high-end 2-in-1 convertible device. The screen can be detached from the keyboard section and used as a tablet, or rotated up to 360 degrees using a hinge with stainless steel cog wheels that are inspired by the transmission of a sports car. The milled aluminum housing features a matte anodized surface finish and the minimalist design the brand is known for.
In the interior, the Book One comes with high-end components all around. The Windows 10 Pro operating system is powered by a 7th-generation Intel Core i7-7500U processor and 16GB of RAM. An Intel SSD provides 512 GB of storage via the PCIe slot and the 13.3” QHD+ IPS display offers a resolution of 3200 x 1800 pixels.
For easy expansion and connection of accessories a variety of ports is provided, including two multifunctional USB Type-C ports, two full-size USB 3.0 ports, and one USB 3.1 Type-C/Thunderbolt 3 port which allows for wired image transmission in accordance with the DisplayPort standard. In addition, the 5MP front camera with infrared sensor enables biometric authentication using the Windows Hello facial recognition software.
In terms of input, Book One users can choose from the touch display, a precision touchpad, the detachable keyboard with backlit keys and a Wacom-made digital stylus that attaches magnetically to the housing. With its versatile design and powerful hardware the Porsche Design Book One looks like a great machine for image editing at home or on the road. It will be available in the US in April 2017 at a retail price of $ 2,495.
Press Release:
Porsche Design Adds Exclusive Laptop to Its Product Portfolio
Stuttgart, Germany. With the new Porsche Design BOOK ONE, the world’s first convertible and detachable 2in1, Porsche Design adds the category of Porsche Design Computing to its expanding product portfolio. The move sees the premium-lifestyle-brand playing to its strengths, merging form and function to yield a high-performance, multifunctional 2in1.
The Porsche Design BOOK ONE underlines the brand’s focus on technology and innovation, making new strides in the mobile computing segment. The silhouette of the BOOK ONE uses a milled aluminum housing with a matte anodized surface finish and features subtle Porsche Design branding on the top of the tablet and the bottom edge of the screen. The patented hinge, designed entirely by Studio F. A. Porsche, allows the tablet unit of the 2in1 not only to detach, but also rotate 360°.
In keeping with the traditional design philosophy of Professor Ferdinand Alexander Porsche, the well-crafted hinge and its stainless steel cog wheels are inspired by the transmission of a sports car. This approach, which combines superior engineering with modern design, allows Porsche Design to implement the latest in state-of-the-art technology.
The features of the Porsche Design BOOK ONE include:
Versatile functionality: High performance components and cutting-edge technology give the 2in1 its versatile functionality. The device comes with Windows 10 Pro, Microsoft’s most up-to-date, cutting edge OS.
High performance: The powerful 7th-generation Intel® Core™ i7-7500U processor, which clocks in at up to 3.5 GHz, is able to max-imize its potential thanks to the computer’s 16 GB of RAM.
Fast data storage: The noiseless Intel®, SSD with a storage capac-ity of 512 GB, guarantees fast data storage via the PCIe slot.
Eye-popping resolution: With a resolution of 3200 x 1800 pixels, the 13.3” QHD+ IPS display is built to impress, whether working, surfing the web, or simply watching the latest movie.
Convenient connections: The variety of available ports offered includes two multifunctional USB Type-C™ ports, two full-size USB 3.0 ports, and USB 3.1 Type-C™/Thunderbolt 3 port, which not only powers a variety of USB peripherals with just a single cable. It also guarantees fast, hassle-free data exchange, and allows wired image transmission in accordance with the DisplayPort standard. The 2in1 communicates wirelessly via dual-band WiFi and Blue-tooth®.
Biometric authentication: A more secure and simplified login pro-cedure is enabled thanks to the 5-MP camera with infrared sensor, which is seamlessly integrated into the front of the housing and allows biometric authentication using Windows Hello facial recognition software.
The themes of versatility and ease are further emphasized by the laptop’s cutting-edge input capabilities. Both the touch display and the Precision Touchpad for Windows 10 use high-precision, multi-gesture control interfaces. The keyboard, complete with dimming backlit keys, enables endless use in a variety of settings. And the digital stylus, developed by Studio F. A. Porsche to ensure ideal handling, is optimized for use with Windows Ink, providing a natural writing experience with all the benefits of digital connectivity. In order to prevent loss of the stylus, a magnetic holder is integrated into the right side of the tablet.
“The Porsche Design BOOK ONE embodies the DNA of our brand down to the tiniest detail and, as our first 2in1 unit, has expanded our product portfolio by adding a new category: Porsche Design Computing. In Microsoft and Intel, we have two renowned partners who were a great help in implementing this strategically important project,” said Jan Becker, CEO of the Porsche Design Group.
“We’re thrilled to work with Porsche Design – a world renowned premium-lifestyle-brand – that introduces for the first time a finely crafted 2in1 – the Porsche Design BOOK ONE,” said Peter Han, Vice President, Partner Devices and Solutions, Microsoft Corp. “Porsche Design’s first Windows PC combines a well-constructed hardware and functional design with popular Windows 10 features, including Windows Hello and Windows Ink, enabling a rich pen and touchscreen experience.”
The Porsche Design BOOK ONE will be available in the US in April 2017 and available in other countries at Porsche Design Stores and specialty retailers. RRP in the US is $ 2,495 USD.
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Wireless camera controller CamFi now supports Sony digital cameras, the company announced recently. With CamFi 3.0, the latest version of the app, Sony camera owners can attach the CamFi wireless controller to their camera via a USB cable, then access and control the camera remotely using a laptop or tablet over Wi-Fi.
CamFi supports live view from Sony digital cameras, as well as Nikon and Canon cameras, and also enables photographers to change camera settings and capture shots using a laptop or tablet. The controller supports multi-camera setups, and also adds support for the latest DNP wireless printer server. The company says CamFi 3.0 also supports both Raw and JPEG image formats.
According to the CamFi Sony support page, the product presently supports the Sony a7R, a7R II, a7S, a7 II, a7, a6300, a6000, and a5100 models. Both MTP and PC Remote modes are supported; users can select their preferred mode in the camera’s ‘USB Connection’ menu. Check out the support page for full details on how to set up and use CamFi with Sony cameras.
Press release:
GUANGDONG, CHINA. – February 23, 2017 – CamFi Limited, maker of wireless controllers for digital cameras, announced today that the new version of its app, CamFi 3.0, adds wireless tether support for Sony cameras. This feature allows the photographer to transmit photos from a Sony camera to a laptop or tablet via Wi-Fi automatically during a photo shoot.
“CamFi is the only wireless camera controller which can support Canon, Nikon and Sony currently. The support for other camera brands will be added in the future,” Said Mark Ma, CEO of CamFi, “We hope we can bring something new for the photography industry.”
CamFi 3.0 supports both raw and jpeg image file formats. It also supports live view for Sony cameras. That way, a photographer can see the live view of the camera, change the ISO, shutter speed and aperture and shoot remotely. Furthermore, the new version added support for the newest DNP wireless printer server. This allows the user to print the photo via Wi-Fi immediately after shooting. CamFi supports multiple camera control, which can be used to create a bullet time effect.
There are many advantages to using wireless remote capture. For one thing, the technology enables the photographer to see the preview image on a large screen, such as that of a tablet, versus the small viewfinder of the camera. The tether also makes it possible for the camera to be in a position that gets the right shot, but which is not necessary comfortable or safe for the photographer. For instance, the camera can be mounted on a high railing while the photographer can see the preview while standing on the floor below. Wireless tethers are helpful for time-lapse photography and self-portraits as well.
For more information and the full list of product specifications, please visit
http://cam-fi.com