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Announcing the Winners of the Corel “Colors of Fall” Contest

A huge thank you to everyone who entered our recent contest to win a $ 500 Amazon™ Gift Card and a Corel Software Package. The second-place winner wins a full Corel software package and the third-place winner wins a copy of PaintShop Pro 2018 Ultimate. The software package includes PaintShop Pro 2018 Ultimate, AfterShot Pro 3, VideoStudio Ultimate X10 and ParticleShop.

This was a “Colors of Fall” themed competition, and so many of you shared your beautiful photographs, that we encourage everyone to go back and scroll through the comments section to view these wonderful images.

As a bonus to the entire dPS Readership, Corel is offering a 10% discount on their PaintShop Pro 2018 Ultimate leading Photo Editing Software through November 10, 2018, and as a bonus, you will receive ParticleShop Plugin FREE, a $ 39.99 value. Just click here.

Yet again, the response was absolutely wonderful! But now, onto the winners! Drum roll please, and the winners of the Corel PaintShop Pro 2018 Ultimate Editing Software and the $ 500 Amazon Gift Card are:

Grand Prize Winner: Rick K

I love the new PaintShop Pro 2018’s improved navigation and bigger icons. It allows me to better express my creativity with Editing the RAW image. The reason for submitting an IR image edited with PaintShop Pro 2018 is to show that PaintShop Pro 2018 can easily handle editing RAW IR images. Editing RAW IR images is a multistep process involving a red/blue color swap and precise color saturation and white balance settings. Using PaintShop Pro 2018 the editing process is very easy and the steps can be saved allowing for fast repeatable editing of several RAW images quickly. The picture I am submitting for the contest was taken on the first full day of Fall 2017 using a Canon T1i converted specifically to take IR images. This image was taken using a 665nm IR filter on the Canon T1i. The camera was positioned on the Doyle road covered bridge in Jefferson, OH and pointed at Mill Creek.

Second Place Winner: Kristin G

I’m new to digital photography post-processing, but I downloaded the free trial from Corel and used it to edit this photo that I took back in October 2011 in Acadia National Park in Maine. I watched many of the tutorials on the Corel site and they are a good way to feel ones way around the program and get a taste of the possibilities. The program is powerful yet does not seem overly complicated to learn. I definitely am excited to use Corel to take my photos to the next level. Thank You!

Third Place Winner: Charlie Hoffman

Colors of Fall ~ Wow….Having used Corel products for years the new PaintShop Pro 2018 Ultimate makes my work output a snap. This photo was taken overlooking the Lackawaxen River in the Pocono Mts. of Pennsylvania.

We were all very happy with the entries. You made us smile, but most importantly, you made us want to do more of what we do; provide you quality information and guidance to become a better photographer. We were so pleased to see that you came from every part of the world. Thank you all for your entries!

Again, for those of you that didn’t win, Corel is offering a 10% discount off their PaintShop Pro 2018 Ultimate leading Photo Editing Software, and as a bonus, you will receive ParticleShop Plugin FREE, a $ 39.99 value. Just click here.

The Winners will be emailed with details of how to collect their prize. Please make sure to look for our email. Thank you again for all the wonderful submissions and to Corel for sponsoring this competition.

Learn more about PaintShop Pro 2018 Ultimate HERE.

Disclaimer: Corel is a paid partner of dPS.

The post Announcing the Winners of the Corel “Colors of Fall” Contest by Darlene Hildebrandt appeared first on Digital Photography School.

Digital Photography School

October 27, 2017
Ricoh announces new lenses for both APS-C and full-frame Pentax cameras
The two lenses Ricoh has announced today are part of the company’s Star-series line of high-performance lenses, being designed from the ground up for use with higher megapixel DSLR camera bodies.

Let’s start with the HD Pentax-DA* 11-18mm F2.8. Designed for crop-sensor cameras such as the Pentax KP, K70 and K-3 II, it offers an equivalent focal range of 17-27.5mm with a constant F2.8 aperture. Pricing has yet to be disclosed, and you have a bit of a wait if you’re interested in this lens; availability is scheduled for the summer of 2018.

Up next will be of particular interest to Pentax K-1 users. The HD Pentax-D FA* 50mm F1.4 SDM AW is designed for full-frame image sensors, and is the first new prime lens Ricoh’s announced for the K-1 since that camera was released. To go with the K-1’s rugged design, the FA* 50mm F1.4 comes with all-weather construction, and also a newly developed supersonic direct-drive autofocus motor for both faster and quieter AF operation. The FA* 50mm F1.4’s pricing is also unavailable, though it’s scheduled to be released a little sooner in the spring of 2018.

Press Release
RICOH ANNOUNCES NEXT-GENERATION, HIGH-PERFORMANCE PENTAX STAR-SERIES LENS LINE

Optimized for super-high-resolution photography with high-megapixel digital SLRs, new Star-series lenses on display at Photo Plus Expo 2017 and Salon de la PHOTO 2017

NEW YORK (Photo Plus Expo 2017, Booth #845), October 26, 2017 — Ricoh Imaging Americas Corporation today announced a new generation of high-performance Star-series lenses optimized for super high-resolution photography and high megapixel digital single-lens reflex (D-SLR) cameras. The first two lenses developed for the new-generation of Star-series quality—the HD PENTAX-D FA^? 50mm F1.4 SDM AW and the HD PENTAX-DA^? 11-18mm F2.8—will be on display as reference products at Photo Plus Expo 2017 at the Javits Convention Center in New York (October 26-28) and SALON de la PHOTO 2017 in Paris (November 9-13).

Premium-quality Star-series lenses deliver the highest performance among the PENTAX K-mount interchangeable lens series, and have been highly regarded by PENTAX K-Mount users since the days of film. In addition to the initial design concepts of optimum image quality and large apertures for maximum light transmission, the series has embraced the additional concepts of exceptional toughness and outstanding operability, achieved through the development of a dustproof, weather-resistant construction. The resulting lenses provide superior dependability in a wide range of shooting conditions, and are the perfect companion to PENTAX SLR camera bodies.

Although final names, specs and pricing will not be released until 2018, here are preliminary key features of the two lenses:
- HD PENTAX-D FA^? 50mm F1.4 SDM AW
- HD PENTAX-DA^? 11-18mm F2.8
| About Ricoh Imaging Americas Corporation|

Ricoh Imaging Americas Corporation is a subsidiary of Ricoh Company Ltd., a global technology company specializing in office imaging equipment, production print solutions, document management systems and IT services. Headquartered in Tokyo, Ricoh Group operates in about 200 countries and regions.

The company now known as Ricoh Imaging Americas Corporation was originally founded in 1919, under the name Asahi Optical Joint Stock Co. and launched its first SLR camera in the 1950s under the PENTAX name. Today, Ricoh Imaging Americas Corporation continues to produce the heritage-rich, award-winning line of PENTAX DSLR cameras, lenses and sport optics equipment as well as Ricoh’s offering of stylish and compact digital cameras, known for their wide-ranging, rich set of features.

For further information, please visit www.us.ricoh-imaging.com
Articles: Digital Photography Review (dpreview.com)
October 27, 2017
Hands-on with new Canon L-series primes

Hands-on with new Canon L-series primes

Two months ago Canon announced four new L-series prime lenses: the TS-E 50mm, 90mm and 135mm F2.8L Macro and the 85mm F1.4L. We’re at the Photo Plus Expo in New York, and we just got our hands on them. Click-through for some images and first impressions.

Hands-on with new Canon L-series primes

All of the new TS-E lenses are (like all tilt-shift designs) manual focus, and all feature broad, well-damped focus rings. The TS-E 90mm F2.8L Macro (shown above) covers a classic portraiture focal length and should be useful for both portraiture and product photography.

Hands-on with new Canon L-series primes

While people tend to associate tilt-shift lenses with landscape photography, short and medium-telephoto designs are very handy for portraits, where it can be difficult to maintain sharp focus on a subject’s eyes (both of them) at wide apertures.

Similarly, close-up product images and macro photography where it isn’t always practical or desirable to stop down too much for increased depth of field. Using a tilt-shift lens, sharpness can be maintained across the depth of a subject, without sacrificing background blur.

Hands-on with new Canon L-series primes

This is the 135mm F2.8L Macro – unsurprisingly, a larger and heavier lens than the 90mm pictured in the previous slide. All three of Canon’s new TS-E primes feature the same basic tilt-shift mechanism, offering a wider range of adjustments compared to Canon’s older lenses, and updated coatings. In the 135mm F4L, SubWaveLength Structure Coating (SWC) helps reduce flare and ghosting.

Hands-on with new Canon L-series primes

Unlike Canon’s more conventional L-series lenses, the TS-E range is not (and has never been) weather-sealed. As such, they lack the rubber gasket around the lens mount that you’d expect to see on other L-series primes and zooms. According to Canon, the complexity of the tilt-shift mechanism makes weather-sealing impractical.

Hands-on with new Canon L-series primes

All three of the new TS-E primes offer the same magnification ratio of 1:2. This isn’t quite ‘true’ macro but for many purposes it should prove adequate for close-focus work, even with relatively small subjects. As you can see in this view, the tilt and shift knobs on the new primes are large, and easily distinguishable from one-another.

Every aspect of the new TS-E lenses feels extremely well-machined. Canon has long experience of designing tilt-shift primes and everything from build quality to the feel of the zoom rings oozes quality. With the lenses locked in a tilt/shift position, there is no give in the mechanisms at all (which is exactly what you want in a lens of this kind).

Hands-on with new Canon L-series primes

The shortest and lightest of the TS-E trio is the TS-E 50mm F2.8L Macro. Like the 135mm F4, the 50mm also benefits from SWC coating, and a new Air Sphere Coating (ASC) which Canon claims ‘provides amazingly high, anti-reflective performance, particularly when alleviating incidental light that can enter a lens’.

Hands-on with new Canon L-series primes

The new Canon TS-E 50mm F2.8L Macro, TS-E 90mm F2.8L Macro and TS-E 135mm F4L Macro lenses are all scheduled to be available November 2017 for an estimated retail price of $ 2199.

Read more about Canon’s new TS-E lenses

Hands-on with new Canon L-series primes

Announced alongside the TS-E primes in August was the 85mm F1.4L. A classic portrait prime, the 85mm updates the venerable 85mm F1.2L II in many respects, while not offering quite the same brightness.

Apart from the minimum aperture, the most obvious update compared to the older 85mm designs is image stabilization, up to a claimed 4 stops. In theory, this means that you should be able to hand-hold the new lens at shutter speeds as low as 1/15 sec, but of course this assumes no subject movement.

Hands-on with new Canon L-series primes

A nine-bladed aperture is designed to deliver attractive bokeh for portraiture and as we’d expect from Canon’s L-series lenses (except the TS-E models) the new 85mm F1.4L is dust and weather-sealed. At 950g (roughly 2lb) the lens isn’t exactly lightweight, but doesn’t feel heavy and remains well-balanced on the EOS-1DX Mark II that we used at the show.

Optical construction of the EF 85mm comprises 14 elements in 10 groups, with one large diameter, high-precision molded glass aspherical element. Like the 135mm and 50mm TS-E primes, the 85mm F1.4L features an Air Sphere Coating. It will be available next month, for $ 1600.

Articles: Digital Photography Review (dpreview.com)

October 27, 2017
4 Tips for Beginners to Food Photography

Food photography is everywhere – restaurants, bars, advertisements, shop windows, billboards, blogs, menus, books – the list is endless. Interestingly enough, when done right these images not only catch your attention but may have an impact long after you’ve seen them.

The work that goes into food photography is no small feat and usually starts with a story. Is it something you are trying to sell? Is it food you created and want to convey that it is your best recipe yet? Does your food story have a cultural side or is it a moody, artistic piece? Food photography is a vast intricate topic, but if you are just starting out, here are a few things to keep in mind:

1) Light to accent the food’s character

Controlling light can elevate your food photography easily as it helps you take charge of your end result. A good starting place to set up is near a window with lots of natural light – a look that is often simulated when shooting food in a studio – with light skimming across at an angle.

This scene evokes feelings of food just made and laid out, waiting to be consumed. No matter what light source you use, keep the subject in mind and modify the light if needed. Modifications can be as simple as changing color temperatures to be more flattering or diffusing your light.

Back or side lighting usually works well for food, so try them both and see what works best for your subject.

2) Textures and Layers

While textures and layers are two different aspects of food photography, they sometimes have a symbiotic relationship.

Textures are an easy way to add personality and character to your image and layering helps you tell the story. Textures range from using your work surfaces, contrasts in the food itself or even by bringing in a prop or two.

Your composition can benefit from layering elements in the photo that portrays your food – props and ingredients for example. Further, introduce textures and layers by using contrasting backgrounds on your work surfaces, e.g., a metal baking tray on a tiled counter top or wooden table.

By building up layers you give the final image interest and depth. You want the food to look delicious and interesting, not lifeless or unappetizing.

A nice rule is to keep layering and styling your subject until you want to eat it.

3) The power of neutral backgrounds

Keeping the previous tips in mind, a good starting place is a neutral background to build on. It can be plain or even textured, but when you start neutral you can create many different looks with a few simple changes.

Use the food and layers to introduce color, shapes, lines and more texture. The background is not intended to be the main focus but is used to add interest and enhance your final image.

If you are creating food image for stock photography, you will see many images done on solid white or black backgrounds. This is done intentionally so that the food is the focus and not the storytelling element.

4) All about the angles

The most recommended angles for food photography are directly above, straight on, or at a forty-five degree/three-quarter angle (can vary slightly). Determine how close you want to get to the food. Do you want to show something specific or an entire scene?

Keep the subject in mind – some food looks very good close-up, while others benefit from the environment and story.

Bonus Tip

When you start doing food photography, it will not take you long to realize that it is not as easy as it looks. Many food photographers use a food stylist to help them materialize their vision, as styling is a skill in its own right.

If you are just starting out, by all means, experiment. But if you can use a food stylist, there is a great deal you can learn from the way they work and develop your own style and technique.

Conclusion

Food photography is an extremely satisfying genre because of all the attention to detail it requires. It is an expansive topic with many tips and tricks needed to create that perfect delectable shot. These are just a few to consider as you start your journey. Feel free to share any tips you have come across or used in this delicious genre in the comments below.

Check out some of our food photography video tutorials tips as well.

The post 4 Tips for Beginners to Food Photography by Nisha Ramroop appeared first on Digital Photography School.

Digital Photography School

October 27, 2017
InVisage reportedly acquired by Apple

Image Sensors World reports Apple has acquired or at least hired some engineers away from InVisage, the technology company which developed a new image sensor architecture featuring a QuantumFilm layer for increased light capturing capability.

According to unnamed sources the acquisition was closed in July of this year and Image Sensors World also points out that InVisage is no longer listed as a current investment in the portfolios of venture capital firms Nokia Growth Partners and InterWest Partners.

The company also simplified its website by removing employee profiles and the news section, which, according to the report, is a common move for companies acquired by Apple. In addition LinkedIn lists at least six Apple employees who previously worked at InVisage. That said, only two of those joined the company during 2017.

Despite the lack of an official confirmation, all the evidence seems to suggest that the QuantumFilm technology is now in the hands of Apple. We’re hoping to see at least elements of it in upcoming iPhone cameras. In the meantime you can find out more about QuantumFilm in the video below or in our own report from November 2015.

Articles: Digital Photography Review (dpreview.com)

October 27, 2017
Hands-on with the impressively small Canon PowerShot G1 X Mark III

Hands-on with new Canon PowerShot G1 X Mark III

Canon’s new PowerShot G1 X Mark III combines a 24MP APS-C sensor and hybrid autofocus system in a pricey but impressively compact body. Canon has been showing it to us at the Photo Plus Expo show in New York, and we’ve compiled some first impressions of how it handles.

Hands-on with new Canon PowerShot G1 X Mark III

As should be obvious from this photograph, the G1 X Mark III is very small indeed, for an APS-C format camera. Despite being barely larger than the 1″ format PowerShot G5 X, the G1 X Mark III’s sensor and Dual Pixel autofocus system are lifted directly from the company’s latest APS-C DSLRs.

Unlike the G5 X or Canon’s Rebel-series DSLRs though, the G1 X Mark III offers weather-sealing. We didn’t get the chance to soak it with water yet, but just from initial impressions of this late pre-production sample, build quality seems excellent (which it should, for a compact camera at this price).

Hands-on with new Canon PowerShot G1 X Mark III

A front control dial isn’t in quite the same position as it is in Canon’s DSLRs, but it works in exactly the same way. Our model for these shots has pretty small hands, but even with my big banana fingers, the G1 X Mark III is comfortable to hold and the manual controls are (by and large) easy to find by touch.

The 24-72mm F2.8-5.6 sacrifices brightness and zoom range for size, but covers a useful range for everyday photography. Despite the relatively slow aperture at 70mm, autofocus is fast and impressively positive, even in the very dim conditions of a show floor meeting room. Obviously this is highly anecdotal, and we’re keen to put the autofocus system to the test properly as soon as possible.

Hands-on with new Canon PowerShot G1 X Mark III

The G1 X Mark III handles more or less exactly like the G5 X, which in turn handles more or less like a miniaturized Canon DSLR (witness the exposure mode dial on the upper left and EOS Speedlite-compatible hotshoe), but with some differences. There’s no top-plate mounted LCD screen obviously, and the triple dial arrangement (one around the lens, one on the front grip, and one on the rear) is different, but for a user of any recent Rebel-series DSLR, the G1 X Mark III should be pretty easy to get to grips with.

The dedicated +/- 3EV exposure compensation dial on the upper right of the top-plate will be familiar to users of other recent PowerShots.

Hands-on with new Canon PowerShot G1 X Mark III

From the rear, the G1 X Mark III is dominated by a 3″ fully-articulating touch-screen, with all the bells and whistles that we’d expect: generous on-screen informational icons, live histogram, and an electronic level, as well as menu access and touch-to-focus. Overall performance seems very snappy, with no noticeable delays in menu or touch operations. The one exception to the generally nicely-sized control points, by the way, is the rather fiddly rear dial (just to the right of the screen).

Hands-on with new Canon PowerShot G1 X Mark III

The G1 X Mark III’s screen is fully-articulating, and supplemented by a high-quality OLED 2.36 million-dot electronic viewfinder. As well as stills, the G1 X Mark III can shoot full HD video at up to 60p. Still no 4K, though. Maybe next year.

In terms of continuous stills shooting performance, the G1 X Mark III maxes out at a creditable 7 fps.

Hands-on with new Canon PowerShot G1 X Mark III

Obviously, to make the G1 X Mark III as compact as it is, Canon has had to make some compromises. As well as the relatively restricted 24-70mm lens range, the battery is pretty anaemic, offering a CIPA rated life of around 200 shots. We’d expect better endurance in normal use, shooting more stills than video and with limited use of flash, but regardless – best to budget for at least one spare battery.

The PowerShot G1 X Mark III will be available next month for $ 1299. Optional accessories include a dedicated lens hood ($ 59), underwater housing ($ 499) and leather case ($ 99).

Articles: Digital Photography Review (dpreview.com)

October 26, 2017
The medium format Hasselblad X1D is the highest rated camera on DxOMark

After the Nikon D850 became the highest rated camera on DxOMark with a score of 100, the sensor testing and software company promised to start reviewing medium format cameras again very soon. Today, they fulfilled that promise and unseated the former-champion Nikon D850 all in one fell swoop.

The new DxOMark champion is the mirrorless medium-format Hasselblad X1D-50c, which came “crashing through the 100-point barrier” with an overall sensor score of 102.

“The X1D-50c excels in all three of our measurement categories, achieving either the top-ranked or a podium position result in each,” explains DxOMark. In fact, the camera received the highest Low-Light ISO score DxO has ever doled out, and it ties for 1st place with the Nikon D850 in the Color Depth category.

You can read the full review and dive into the results on the DxOMark website, but here’s a snippet from the Conclusion for you TL;DR types:

Image quality on the Hasselblad X1D-50c is outstanding, crashing through the 100-point barrier to become the highest-scoring commercially-available sensor we’ve tested. At 102 points overall, it also achieves either the best, or very close to the best results for both color depth and dynamic range. Combine that with its 50Mp resolution and mirrorless design, all packaged at a more realistic price tag, the X1D-50c starts to look like a tantalizing prospect.

Articles: Digital Photography Review (dpreview.com)

October 26, 2017
5 Camera Settings Every New Photographer Needs to Know

The first time you pick up a camera it can be pretty confusing. With all the bells and whistles crammed inside even entry-level DSLRs nowadays, knowing where to start is anyone’s guess. Teaching yourself, through trial and error, is one of the best means-tested ways to come to grips with your camera and learn how to use it. But sometimes that takes a while, so here are some of the camera settings that I think every photographer needs to know about when they get their hands on a DSLR.

1. Live View Stops Mirror Slap

That satisfying, reassuring “clunk” sound you hear when you press the shutter button isn’t actually the shutter firing on the camera. In fact, that is the mirror moving up and down to expose the sensor to the world. But that relatively aggressive motion of the mirror can introduce camera shake into your images.

It’s something you might notice if you’re shooting a long exposure, but there’s an easy way around it. Switch the camera into Live View mode, forcing the mirror to raise permanently (until you turn off that mode) so that you can see the image on the LCD screen. This means that when you do actually press the button, only the shutter itself is moving – no need to worry about that mirror thudding up and down anymore.

2. Auto ISO and Manual Mode Helps You Learn

Lots of photographers stay in Automatic mode because of the fear of missing images when they switch to Manual mode. To remove this fear, try shooting in Manual mode with Auto ISO enabled. This means that the camera is still in control of one of the three factors affecting exposure (aperture, shutter speed, and ISO) so that it can balance out the settings with the ISO. But now you get to control the aperture and shutter speed yourself, changing them around to see what effect they will have on your photo.

Use Manual mode and Auto ISO to experiment safely with the other camera settings.

Try slowing down the shutter speed, or narrowing the aperture of the lens, safe in the knowledge that auto ISO will do a pretty good job at balancing the exposure (unless you slow your shutter down a lot). Being able to experiment freely like this will help you to get a practical knowledge of the exposure triangle and how it works.

3. Disable Area Autofocus Modes

The first thing you should do is disable any Area (zone) Autofocus modes. This is where the camera picks and chooses where it focuses, as it will rarely be at the point you would want. Instead, try using single-point focus. This allows you to be precise and line-up the black square over the target area in the scene.

Here I used single-point focus to nail the focus on the eye.

If you were taking a photo of a dog, for example, it’s much better to focus on the eyes than to rely on the camera to find that spot for you. Most likely, the camera would be focused on the end of the dog’s nose – not very good for an impactful shot.

4. Mute Your Camera

As a wildlife photographer, one of the really annoying things to hear in a quiet hide or nature reserve is the beep of someone’s camera. Whenever I get a new camera, it’s not long before I dive into the menu and disable all of the autofocus beeps, menu selection beeps, and any other noises the camera might feel so inclined to make.

Mute your camera to avoid disturbing sensitive animals – or people!

Not only is it pretty pointless, it could alert an animal to your presence! So, wildlife photographers, don’t do it.

5. Pay Attention to the White Balance Setting

The White Balance setting is one that can totally transform your images in a second, but it’s one that most people ignore for quite a while and just leave in auto mode.

If you’re shooting in JPEG file format, and not raw, then the White Balance choice you make in the camera does matter. If you’re shooting raw, you can adjust this later during post-production.

Adjust your white balance for proper color replication.

Why not Auto White Balance? I find that it never gets things right. Colors always look much flatter and dull, whereas the daylight or cloudy presets add an immediate punch to your shot. Try it, and you’ll probably find things really do change for the better.

You can also look at the manual White Balance setting (measured in degrees Kelvin) if you want to have a much more fine-tuned control over this setting.

Summary

Hopefully, these five tips will help you to navigate through the minefield that is a new DSLR camera. There are of course so many more things to know – and that’s where Digital Photography School can help you, of course. But these are some things that I think will make life easier for you as a new DSLR user.

Let me know in the comments if you have any other great tips or camera settings for new DSLR users!

The post 5 Camera Settings Every New Photographer Needs to Know by Will Nicholls appeared first on Digital Photography School.

Digital Photography School

October 26, 2017
Demo: Sony a7R III’s impressive Eye AF

We’ve been fans of Sony’s Eye AF feature for a while now, and since the company claims it’s twice as effective in the a7R III it was one of the first things we wanted to check out. In our brief initial demo it does indeed look impressive, which could be a huge benefit for pro photographers. Take a look.

Articles: Digital Photography Review (dpreview.com)

October 26, 2017
Sony to shift focus as demand for automotive image sensors increases

Sony is the largest supplier or CMOS image sensors worldwide, with about half of its production capacity reserved for mobile device image sensors. However, according to a DigiTimes report, the company is now looking to expand its position in the market for automotive image sensors, where rivals On Semiconductor and OmniVision are currently the largest players.

As a consequence Sony is planning to allocate a larger portion of its sensor production capacity for advanced driver assistance systems (ADAS) and other automotive electronics applications.

Self-driving vehicles have been identified by sensor suppliers as a major growth area that will generate elevated demand for image sensors in the near future. According to DigiTimes sources, automotive is expected to overtake mobile devices as the leading application for CMOS sensors and will be first among all auto electronics segments, with major growth kicking in during 2018.

According to Digitimes, increasing demand for CMOS sensors through high-end smartphone and automotive applications could be bad news for consumers as the average unit price of CMOS sensors is expected to rise. The global market volume for CMOS sensors is forecast to increase to nearly US$ 13.8 billion in 2020, up from US$ 11.2 billion in 2017.

Articles: Digital Photography Review (dpreview.com)

October 26, 2017