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Sony World Photography Awards: Open competition winners

The World Photography Organisation has announced the category winners for the 2024 Sony World Photography Awards 'Open' competition. The ten winners took home awards in popular photo categories, including portraiture, landscape, travel, street photography and more. We previously covered the finalists for the competition's Professional and Student and Youth categories.

The 2024 Sony World Photography Awards drew entries from photographers from over 220 countries, who submitted 395,000 photos to the free-to-enter competition.

The overall winner of the Open competition will be announced in London on April 18, but you can see the ten category-winning photos right here. Let us know what you think in the comments.

Portraiture: Michelle Sank (United Kingdom)

Photographer Name: Michelle Sank

Image Name: Zenande, Sinawe, Zinathi and Buhle at Sea Point Pavilion, Cape Town

Image Description: This image is part of my ongoing series Ballade, which is a poetic homage to my birthplace. My strongest memories are of Sea Point Promenade and the Pavilion swimming pool, although due to apartheid it was only for the privileged white population. Returning in 2023 I was again drawn to these spaces where little seems to have changed in terms of structure and recreation, but they now celebrate cultural and social diversity.

Copyright: © Michelle Sank, United Kingdom, Winner, Open Competition, Portraiture, Sony World Photography Awards 2024

Landscape: Liam Man (United Kingdom)

Photographer Name: Liam Man

Image Name: Moonrise Sprites over Storr

Image Description: As a moonrise burns across the horizon, lights dance above the Old Man of Storr in Scotland. This iconic rock formation was illuminated with powerful lights attached to drones, which cut through the darkness to reveal the icy landscape. Blizzards howled for the majority of the night, leaving mere minutes to execute this photograph before the moon became too bright.

Copyright: © Liam Man, United Kingdom, Winner, Open Competition, Landscape, Sony World Photography Awards 2024

Architecture: Ana Skobe (Slovenia)

Photographer Name: Ana Skobe

Image Name: Falling Out of Time

Image Description: Bathed in soft evening light, a lighthouse rises into the clear sky, its clean, sleek, geometric design contrasting with the coastal landscape. Positioned at its base is a figure – a contemplative man gazing out at the expanse of the ocean before him. The juxtaposition of the solitary silhouette against the infinite horizon creates a moment of reflection and connection with the vastness of the ocean.

Copyright: © Ana Skobe, Slovenia, Winner, Open Competition, Architecture, Sony World Photography Awards 2024

Lifestyle: Alvin Kamau (Kenya)

Photographer Name: Alvin Kamau

Image Name: Twende Ziwani (Let’s go to the Lake)

Image Description: This editorial photoshoot was inspired by haute couture fashion culture. The photograph was taken in a studio in Nairobi, Kenya. ‘Twende Ziwani' is Swahili for 'Let's go to the Lake'. The model's pose shows him carrying his shoes on his shoulders while looking to his side. The title also refers to Lake Victoria, the largest lake in Africa and the source of the Nile River.

Copyright: © Alvin Kamau, Kenya, Winner, Open Competition, Lifestyle, Sony World Photography Awards 2024

Natural World & Wildlife: Ian Ford (United Kingdom)

Photographer Name: Ian Ford

Image Name: Caiman Crunch

Image Description: We had bid farewell to our São Lourenço River lodge, marking the end of our Pantanal adventure, but as we were leaving we heard that a jaguar had been spotted roughly 30 minutes away. We raced to the scene and encountered this sleek female jaguar stalking her prey. Our boat – and my camera – was perfectly positioned as she pounced on an unsuspecting caiman.

Copyright: © Ian Ford, United Kingdom, Winner, Open Competition, Natural World & Wildlife, Sony World Photography Awards 2024

Street Photography: Callie Eh (Malaysia)

Photographer Name: Callie Eh

Image Name: The Hand

Image Description: A groom waves enthusiastically while passing by during a ceremonial procession for a wedding in Bhaktapur, Nepal.

Copyright: © Callie Eh, Malaysia, Winner, Open Competition, Street Photography, Sony World Photography Awards 2024

Motion: Samuel Andersen (Norway)

Photographer Name: Samuel Andersen

Image Name: Rider Getting Down and Dirty

Image Description: A rider passes through a muddy part of the course at the Norwegian National Championships in Hafjell Bike Park, Norway. As I was using an 11mm fisheye lens I needed to get really close to get this shot, and both myself and my gear ended up getting splashed. It was worth it though, as the backlighting from this angle was very effective.

Copyright: © Samuel Andersen, Norway, Winner, Open Competition, Motion, Sony World Photography Awards 2024

Creative: Rob Blanken (Netherlands)

Photographer Name: Rob Blanken

Image Name: Untitled

Image Description: A 5x enlargement of crystals of amino acids (B-alanine, L-glutamine and glycine), photographed with the help of polarising filters.

Copyright: © Rob Blanken, Netherlands, Winner, Open Competition, Creative, Sony World Photography Awards 2024

Travel: Yan Li (China Mainland)

Photographer Name: Yan Li

Image Name: Between Calm and Catastrophe

Image Description: On Lake Titicaca, between Peru and Bolivia, a tranquil floating village stands in stark contrast to the approaching wildfire, a dramatic testament to nature’s dual disposition.

Copyright: © Yan Li, China Mainland, Winner, Open Competition, Travel, Sony World Photography Awards 2024

Object: Toni Rinaldo (Indonesia)

Photographer Name: Toni Rinaldo

Image Name: Coalition

Image Description: I took this picture in a waiting room. The difference in colour of the two chairs next to one another caught my eye. This reminded me of my country, Indonesia, where different cultures exist side by side, and that is what makes people interested in visiting it.

Copyright: © Toni Rinaldo, Indonesia, Winner, Open Competition, Object, Sony World Photography Awards 2024

Introduction Photo: Richard Butler

At the core, both Sony's a7R V and Leica's SL 3 share a fundamental building block: a 60MP BSI CMOS sensor. But almost everything layered on top of that foundation diverges in radically different directions. With the SL3 having dropped earlier this week, we decided to take a look at this pair in detail.

Sony a7R V:

$3898 at B&H Photo $3898 at Adorama $3898 at Amazon

Leica SL3:

$6995 at B&H Photo $6995 at Adorama Sensor and specs Built around the same sensor, these two cameras take different approaches.

How they're similar: The main similarity, and primary basis for comparison between these two cameras, is the sensor they share. The 60MP BSI CMOS sensor in each is almost certainly the same, produced by industry juggernaut Sony Semiconductor Solutions. As such, both have comparable image quality, and both can do 8K video, with some caveats and differences we'll get into.

Where they differ: The Sony has better stabilization, rated for 3 extra stops of IBIS (8 EV to Leica's 5). The a7R V also has a multi-shot pixel shift high-res mode, which is somewhat unwieldy in that it requires post-processing on a computer, but the Leica has no comparable mode at all, so there may be some niches where this gives the Sony an advantage.

The SL3 can technically shoot faster, up to 15fps (at 12-bit, using the e-shutter, with focus and exposure locked at the first frame). That's a higher rate than the a7R V's 10fps max, but Leica’s speed tops out at a sluggish 4fps if you want AF and full bit-depth, which the Sony will deliver at its highest speed, so long as you don't want to shoot compressed Raw.

Body and handling The Sony a7R V sports a wonderland of buttons and dials.

How they're similar: Both the Leica and the Sony are interchangeable-lens cameras with protruding handgrip, external buttons and dials, and an articulating screen. Both are moisture and dust resistant, but not fully weather sealed. However, while the Sony is stated as being resistant, the Leica is certified to the IP54 standard.

How they're different: While both cameras share the same general form, they each take it to a different extreme. The a7R V, with its numerous dials and buttons, takes a "more is more" approach to design. If you might ever want to do it, there's a button for it, somewhere.

The Leica SL3 takes a much more reserved and focused approach, going back to the drawing board with its design. There are just enough dials for the three fundamental settings (shutter speed, aperture, and ISO), but far more emphasis on the clever, clean and customizable UI on its tilting screen.

Autofocus The SL3's autofocus options are fewer than the a7R V's.

Where they're similar: Both cameras feature phase-detection autofocus with a variety of smart-recognition modes.

Where they differ: The a7R V's autofocus is excellent, with a broad range of subject recognition modes that sit on top of one of the more tenatious tracking systems on the market, snapping to specified subjects that are in proximity to an AF area. Each layer of the system is individually tunable, adding complexity, but for the most part it just works.

We still need to do more testing with the SL3's autofocus, it's Leica's first use of on-sensor phase detection and offers smaller selection of options for subject recognition mode, one of which was still designated as "beta" at launch. It's behaved well in our usage so far but we've not yet had a chance to really challenge it, as we have with the a7R V.

Video Both stills-focused cameras are capable of 8K video, though the quality differs.

How they're similar: Neither the Leica SL3 or Sony a7R V are video-focused cameras, but they both have some chops and can deliver up to 8K 10-bit video in addition to 4K/60p.

How they're different: The Leica SL3 can shoot UHD 8K up to 30p at a 1.24 crop, with a DCI 8K/30p mode as well. However, it suffers from significant rolling shutter.

The Sony a7R V is limited to 24p for its UHD 8K, with the same 1.24 crop and similar rolling shutter numbers. But, the Sony can shoot UHD 4K at the full width of the sensor (up to 30p). The Leica’s UHD and DCI 4K modes, meanwhile, are taken from the 8K capture region meaning crops of 1.17 or worse, regardless of the framerate.

Viewfinder and screens Both cameras have flexible rear screens and high-res OLED finders

How they're similar: Both cameras have very DSLR-like designs with prominent viewfinder humps housing high-resolution finders and movable rear touchscreens.

How they're different: The a7R V has a 9.44M dot EVF (2048 x 1536px) with 0.9x magnification, rather than the Leica's 5.76M dot (1600 x 1200px) finder with 0.76x magnification. You need to engage a 'high quality' mode to get that full resolution on the Sony, and the display becomes less detailed as you focus. The Sony has a fully-articulated rear screen on a tilting cradle, making it more flexible than the Leica's.

Lenses Sony's E-mount gives you access to a wide array of third-party options.

How they're similar: Both the Leica and the Sony are interchangeable-lens cameras with full-frame sensors, so their lenses are broadly similar in size and weight across the various focal lengths.

How they're different: Leica's L-mount system was designed in partnership with Panasonic and Sigma, which gives it a wide breadth of options including very high-end and pricey Leica glass as well as more mid-range and affordable options from Panasonic and Sigma.

Sony's E-mount is the oldest full-frame mirrorless mount, meaning Sony's own suite of lenses is quite broad, the recent additions have included some excellent performers and a variety of interesting focal lengths. Sony's E-mount is also open to third parties, which means there are also loads of options from Sigma, Tokina, Tamron, Samyang, and more.

Price Neither is cheap, but only the Leica is a Leica.

How they're similar: Both the SL3 and the a7R V are premium cameras. Both are serious investments that will cost you multiple thousands of dollars new or used.

How they're different: The Leica SL3, perhaps unsurprisingly, puts a premium on premium. At a list price of $6,995, the SL3 is not fully twice as expensive as the $3,898 Sony a7R V; it's merely close. Whether or not that differential is even worth entertaining depends in large part on your preference for, or investment in, L-mount glass.

Sony a7R V:

$3898 at B&H Photo $3898 at Adorama $3898 at Amazon

Leica SL3:

$6995 at B&H Photo $6995 at Adorama

A second DPReview film festival

It's Oscar weekend, so we've assembled another DPReview film festival celebrating our favorite star: photography!

Last year, we focused on fictional films starring the humble camera for a hypothetical single-day film festival you could do at home. So, it only feels fitting to turn the coin over and unearth the gems on the factual side.

Within the world of documentary films lies a rich tapestry of stories about photographers, the meaning of photography, and studies on the motivations that guide creators. With the right lineup, you can cut close to a graduate school level of learning and inspiration. If you're lucky, perhaps some life lessons as well.

We've assembled seven documentaries and one interview (to break up the pace), which we hope you'll enjoy. This isn't a comprehensive list of every great documentary film, and I'm certain some of your favorites may feel "missing." Our intention is to be mindful about what to include and in what order, and we didn't want to list things to list them without being able to say why we enjoyed them or why they fit into this flow for a hypothetical single-day film festival. That isn't genuine, nor is it the DPReview way.

Enjoy the show!

Alfred Stieglitz: The Eloquent Eye

Let's start by rewinding to the early 1900s, Alfred Stieglitz, and modern photography's origins.

Regarded as the father of modern photography, the man who once remarked, "Where there is light, one can photograph," helped usher in a new era of photography that sought to change how the public views photography.

Stieglitz embraced the camera and elevated photography as a new art form, emphasizing the ideals of competition, juxtaposition, light and interpretation above documenting for its own sake or seeking sharpness above all.

Produced for PBS's American Masters series, "Alfred Stieglitz: The Eloquent Eye" can be slow at points, painfully so as it slow pans across images while narrators read old letters he and his contemporaries wrote, but it's also packed with nuggets of history worthy of uncovering.

It's the right starting point for any conversation about the impact of photography on culture in the 20th century.

I give it 3/5 stars.

War Photographer

2001's "War Photographer" shadows photojournalist James Nachtwey during assignments in the West Bank, Kosovo and Indonesia. We see firsthand how he approaches his work and the people he works with.

A tension soon emerges as we must consider what photography represents for the people in the images and the people, like us, who later view them. What is our responsibility to the people in the pictures? How close is too close? When is it not okay to take a picture?

With inventive camera work and an unguarded look at a type of photography often overly romanticized, this film allows us to see the personal toll it takes on the photographer and the responsibility of protecting the stories others have allowed you to witness.

If the only thing you take away from this film is that Nachtwey uses a Canon, you've missed the point.

I give it 5/5 stars.

Marwencol

A tightrope of a film, "Marwencol," deftly navigates the question of who our photography is for and what happens when others want in.

Following a violent attack outside a bar that left him with brain damage and amnesia, Mark Hogancamp spent nine days in a coma and another 40 days in recovery. Unable to afford proper mental healthcare after leaving, he began to isolate himself and turned to a fictional world he created in his backyard.

He created Marwencol, a 1/6th scale World War II-era fictional Belgian town filled with elaborate stories deeply rooted in his past and present struggles. Out of these motifs would emerge hundreds of images of soldiers being tortured, rescued and fighting. Others get wind of his work and seek to celebrate it, risking taking it away from its creator in the process.

I give it 4/5 stars.

The Jazz Loft According to W. Eugene Smith

As the story goes, former LIFE Magazine photographer W. Eugene Smith had left his job in 1955 and then his family two years later to move into a rundown New York City loft space. This is where he went a little mad.

The building became a late-night spot for jazz musicians to hang out after a performance or a stopping point for musicians traveling through. Among the big names were Thelonious Monk, Charles Mingus, Bill Evans and more, and these gatherings eventually turned into jam sessions.

Seeing and hearing this, Smith knew he had to document it and proceeded to wire virtually every inch of the building, from the sidewalk to the top floor, with microphones. Between sounds of creaking stairs and busses passing by, there are overheard conversations between musicians about life on the road, racism and many, many hours of the masters of jazz riffing off each other.

Smith made nearly 40,000 photographs and over 4,000 hours of audio recordings from 1957 and 1965 until he was evicted from the building.

The power of documentary photography is on full display in "The Jazz Loft According to W. Eugene Smith." If you're a fan of storytelling and music, this is some of the most fun you'll have at the movies.

I give it 5/5 stars.

Charlie Rose interviews Henri Cartier-Bresson

Strictly speaking, this isn't a documentary film, but we've included it sheerly for the treat of hearing from Henri Cartier-Bresson himself how he approaches photography.

Interviewed later in life, when he wasn't taking as many pictures or granting interviews, it's a rare firsthand account of his approach and the thoughts of a master on his legacy. As an added treat, Richard Avedon also briefly appears to discuss Cartier-Bresson's influence and place in photo history.

It's a perfect intermission for our day of film.

I give it 3/5 stars.

Born into Brothels

In the previous interview clip with Cartier-Bresson, we heard him reflect on the power of a 'decisive moment.' This concept of impact and the ability of images to stop time and reveal something new is on full display in "Born into Brothels."

This film is about adapting and the little joys that go unnoticed. Put another way, I sometimes think of a real-life "Amélie," with more truth and less manic pixie girl energy.

Filmmakers had intended to document life in the brothels of Calcutta, but the community wanted no part of it. However, the kids in the area were curious about the filmmakers' cameras, and there was no resistance to teaching them about photography and filmmaking, so that's what they did.

Handed cameras and empowered by their new interest in photography, the youth of the district embraced the chance to make images. The result is a powerful and intimate film that gives the children of prostitutes autonomy over the stories of their lives in the red-light district of Calcutta.

I give it 4/5 stars.

Half Past Autumn

In a biopic disguised as a documentary, photojournalist and film director Gordon Parks reflects on his life and photographic history in a film that will have you smiling and laughing one moment and break your heart the next. If Stieglitz helped us take photography as a serious medium for art, Parks propelled it forward as an agent for change.

In lengthy interviews, Parks takes us through his first forays into photography (he wished to become a fashion photographer), his transition into photojournalism almost by accident, and finally, his recognition of photography as a means to induce civic reckoning and social change.

In the pantheon of photo greats, there have been few like him. The film was created during Park's first US retrospective of his life's work, and the melancholy tone reflects the reverence many photographers of the era felt for him.

The film can be hard to find, but thankfully, the film's producer/director has uploaded it to their Vimeo page, and you can watch it below.

I give it 5/5 stars.

Watch Half Past Autumn on Vimeo

Cameraperson

This film will challenge you. It may even infuriate you. But by the end, it will reward you by not letting go of you, and that's why we're ending our film marathon with it.

A pseudo-autobiographical chronicling of Kirsten Johnson's lifetime as a globetrotting documentary filmmaker and cameraperson, the film takes us from interviews with a Bosnian woman to an Al Qaeda detention facility in Yemen, with stops to visit her family sprinkled throughout.

At first glance, it may appear as a disparate association of slices of life from around the globe, something borrowed from the quiver of "Koyaanisqatsi" or "Samsara," perhaps. But that is where you'd be wrong. At some point during "Cameraperson," when you are on the verge of giving up on it, it will 'click,' you'll be rewarded with a document of ethics and humanity, a meditation on memory and a journey into our relationships, all rolled into one.

It's never straightforward in its intentions but always inviting. Step through.

At the core of "Cameraperson" is a life lesson that celebrates why we capture images and their value as a document of the people witnessed and those witnessing.

I give it 5/5 stars.

That's a wrap!

Our day-long documentary film festival has come to an end. If you attempted to follow along at home, what moments stood out for you most? What would you suggest we watch next?

There can only be so many films in a single day, and creating a mix that challenges us to dig deeper and lets us breathe when needed can be tricky. Let us know if we missed your favorites in the comments.

And if you're not entirely "filmed out," we have even more cinema suggestions to keep you glued to the TV for another day. Take a look at our non-fiction lineup of films on photography.

Up next: A DPReview non-fiction film festival

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Panasonic's newest zoom lens, the Lumix S 28-200mm F4-7.1 Macro OIS, covers a range of popular focal lengths for travel photography, so I decided to take it on a recent trip to Japan as my sole travel lens, using it to photograph everything from snow monkeys near Nagano to night scenes in Yokohama.

A couple of notes about this gallery: All the photos were captured using a Panasonic S5IIX camera, a 24MP body, as we're working on finishing up our review of the S5II and S5IIX, and this was the camera I had with me in Japan. We'll add photos from a higher-resolution body at a later date. Similarly, we'll add some macro images to the gallery when we get a chance.

View our Panasonic Lumix S 28-200mm F4-7.1 sample gallery

Note: Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

Buy now:

$898 at B&H Photo$898 at Adorama

Lensrentals, the US's largest photo and video gear rental company, is buying competitor BorrowLenses. The acquisition will significantly increase Lensrentals' rental and used gear inventory.

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In addition to shipping equipment in sturdy Pelican cases, LR customers can now pick up their gear at BorrowLenses' San Carlos, CA, location. Lensrentals currently has pickup options in the Nashville, Memphis, and Boston areas.

The terms of the acquisition were not made available at the time of publication. Lensrentals previously snapped up Concord, Massachusetts-based LensProToGo in 2017.

Lensrentals Acquires BorrowLenses Brand and Select Assets to Expand Largest Resource of Inventory for Creatives and Production Teams Seeking Photo and Video Equipment for Rental in the United States

Renowned for stellar customer service, Lensrentals maintains vital gear rental resource for anyone from movie and entertainment productions, professional sports leagues, to all videographers, photographers and content creators nationwide

Memphis, TN – March 7, 2024 – Lensrentals, the leading and largest online photo, video, audio and lighting equipment rental and production resource company, announced the acquisition of select assets of the BorrowLenses business, an online marketplace for photographic and video equipment rentals.

The acquisition will expand Lensrentals’ loyal customer base while augmenting its enormous inventory of more than 400,000 copies of over 6,000 different lenses, cameras, drones, lighting, audio and other high quality production equipment and accessories, in every format, from every major manufacturer available in the market. Additionally, the used gear program known as Keeper will also receive a significant boost in inventory.

Lensrentals has long maintained the largest inventory of photo, video, audio, lighting and accessories and has attracted more than a million orders since its founding. Additionally, the company’s expertise as a production resource and high quality customer service has enabled Lensrentals to align with brands that include world leading box office movie and entertainment companies, professional sports leagues and the journalism professionals that cover them.

Similarly, BorrowLenses has provided cutting-edge photo and video gear for rental, convenient pick-up and shipping options, and exceptional service to its loyal base of creatives and professionals with more than one million orders over sixteen years.

“As a big group of employee-owners, via our Employee Stock Ownership Plan, I think I speak for all employees when I say: we’re collectively delighted and genuinely grateful to strengthen the Lensrentals family with the addition of the BorrowLenses brand, alongside whom we’ve served customers for nearly two decades, while pushing each other to excel. The acquisition will enable us to extend our high-quality rental and production experience to a growing customer base that demands the highest-quality technical equipment a creative needs to produce movies, video and audio, and photographic content, without the up-front expenses associated with buying gear outright and continued maintenance,” said Tyler Beckman, CEO of Lensrentals. “We’re proud of our reputation as the most reliable video and photo gear rental experience online. We employ experienced team members with hands-on video and photo experience to provide the right counsel and ensure the gear which our customers use is not only the highest quality professional grade, but also curated for individual scenarios, down to the right cables and extra batteries for cold conditions. We look forward to welcoming all BorrowLenses customers to the Lensrentals experience.”

With operations in San Carlos, CA, BorrowLenses provided photographers and videographers with a similar range of equipment for rental as Lensrentals. BorrowLenses has offered local pickup in California, like Lensrentals and LensProToGo in Tennessee and Massachusetts respectively, as well as nationwide shipping options.

Lensrentals has long been renowned for providing the highest quality of customer service, by an experienced team of photo and video industry professionals. The customer service team recommends, troubleshoots, and offers counsel on what equipment will work best for each scenario presented. Whether the production is a box office movie, a televised multi-team race around the world, the sidelines of a professional or college sporting event, a new family member, a solar event, a road trip or a wedding, the customer service team operates like a trusted first assistant.

Every piece of gear in the Lensrentals and LensProToGo inventory is cleaned and inspected optically and physically to guarantee orders arrive on time with compatible, working equipment. All technical equipment is shipped in weatherproof hard shipping cases and arrives with a return label in the box, to facilitate an easy return at the end of a rental.

About Lensrentals

Founded in 2006 and headquartered in Memphis, TN with additional facilities in Tennessee and Massachusetts, Lensrentals provides photography, video, audio, lighting gear and drones, amongst more than 400,000 equipment items, for lease from the largest inventory of equipment in the United States. The company ships to customers throughout the 50 states with pickup and return services available to local customers in Memphis, TN and Concord, MA. Lensrentals provides services to hundreds of thousands of photographers annually, maintaining the values of its founder; sharing the best available equipment, at its optimum quality and educating its users to make sure they can achieve their goals as a professional, amateurs and enthusiasts. The company maintains the highest quality of available equipment with the lowest equipment failure rate in the industry.

Image: RED

Nikon has just announced it will be acquiring US cinema camera manufacturer RED Digital Cinema. Founded in 2005 by Jim Jannard, RED has produced cinema cameras that were used in the production of over 25 percent of top-grossing films in the mid 2010s as well as Oscar winners like 2021's Mank.

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The acquisition comes after RED sued Nikon for allegedly infringing on patents it held for video compression technology in 2022 and Nikon, in response, squared off the fight the allegations before the case was ultimately dismissed in April of 2023.

It's easy to assume there's some connection between these two events, but irrespective of this, the purchase makes a lot of sense for Nikon from a business perspective. RED has established a toe-hold in Hollywood and with the rental houses used by independent production teams, in a way that would take Nikon years to achieve. Likewise, absorbing a company that's already developed an industry-accepted set of tools could let Nikon sidestep the teething troubles that it might otherwise encounter as it continues to expand its video features.

Nikon to Acquire US Cinema Camera Manufacturer RED.com, LLC

Accelerating Expansion in Professional Digital Cinema Camera Market

March 7, 2024

TOKYO - Nikon Corporation (Nikon) hereby announces its entry into an agreement to acquire 100% of the outstanding membership interests of RED.com, LLC (RED) whereby RED will become a wholly-owned subsidiary of Nikon, pursuant to a Membership Interest Purchase Agreement with Mr. James Jannard, its founder, and Mr. Jarred Land, its current President, subject to the satisfaction of certain closing conditions thereunder.

Since its establishment in 2005, RED has been at the forefront of digital cinema cameras, introducing industry-defining products such as the original RED ONE 4K to the cutting-edge V-RAPTOR [X] with its proprietary RAW compression technology. RED's contributions to the film industry have not only earned it an Academy Award but have also made it the camera of choice for numerous Hollywood productions, celebrated by directors and cinematographers worldwide for its commitment to innovation and image quality optimized for the highest levels of filmmaking and video production.

This agreement was reached as a result of the mutual desires of Nikon and RED to meet the customers’ needs and offer exceptional user experiences that exceed expectations, merging the strengths of both companies. Nikon's expertise in product development, exceptional reliability, and know-how in image processing, as well as optical technology and user interface along with RED’s knowledge in cinema cameras, including unique image compression technology and color science, will enable the development of distinctive products in the professional digital cinema camera market.

Nikon will leverage this acquisition to expand the fast-growing professional digital cinema camera market, building on both companies' business foundations and networks, promising an exciting future of product development that will continue to push the boundaries of what is possible in film and video production.

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Product photos: Richard Butler

The Leica SL3 is a 60MP DSLR-shaped mirrorless camera built around Leica's L-mount. It brings a lot of technology from the Leica M11 models but also features a radically redesigned interface.

Key specifications

• 60MP BSI CMOS sensor
• 5-axis in-body image stabilization rated at 5.0EV
• ISO 50-100,000 (base ISO 100)
• Hybrid phase/contrast-detect autofocus
• Eye/face/body and animal detection AF
• DCI 8K video in H.265, 1080p in ProRes all with no time limits
• 5.76M dot OLED EVF with up to 120fps refresh
• 2.33M dot tilting rear touchscreen
• 4fps 14-bit shooting with AF, 5fps in 12-bit mode, up to 15fps, 12-bit with focus and exposure locked at first frame.

The Leica SL3 is available immediately at a recommended price of $6995. This is a $1000 increase over the price of 2019's SL2, though inflation means this is lower in real terms.

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Buy now:

$6995 at B&H Photo$6995 at Adorama Index:

• What's new
• Body and controls
• Initial impressions
• Sample gallery
• Specifications
• Press release

What's new

The Leica SL3 is the fourth in the company's range of full-frame, L-mount cameras, following 2017's 24MP SL, the 47MP SL2 from 2019 and the video/stills hybrid SL2-S from 2020. The SL3 adopts a 60MP BSI CMOS sensor, making it both the highest resolution SL camera yet and also the one most likely to play nicely with Leica's M series rangefinder lenses (BSI sensors are better at receiving light from close-mounted lenses, as their photosensitive region is closer to the surface).

As with the M11 cameras, the SL3 can output Raws or JPEGs in your choice of 60MP, 36MP or 18MP resolution, with the option for different resolutions for each file type.

The available ISO range of the sensor stretches from 50 to 100,000, but the company says the native gain steps of this dual gain sensor are ISOs 100 and 320 (200 and 640 in L-Log, 400 and 1250 in HLG).

The SL3 accepts CFexpress Type B slot in addition to UHS-II SD.

The sensor has on-sensor phase detection elements, allowing depth-aware focusing. This combines with a subject recognition system we suspect stems from the L² technology partnership with Panasonic. It can be set to recognize human bodies, faces and eyes, and will track and focus on the smallest of these that's available. It also has animal detection including birds.

The camera uses the same "Maestro IV" processors as Leica's Q3 model, with an 8Gb buffer that's double the size of that in the SL2. Despite this processing power and buffer the SL3's continuous shooting rate is very low by modern standards, hitting just 4 frames per second if you want autofocus and the sensor's full 14-bit readout, this increased to 5fps if you drop to 12-bit mode and then trebles if you don't need focus or exposure updates between shots. This is especially odd given the camera has enough grunt to deliver 8K video.

8K video The SL3's includes a full-sized HDMI port, as well as headphone and mic sockets

The SL3 can capture 8K video (in 1.89:1 or 16:9 aspect ratios) at up to 30p in 10-bit. This uses the H.265 codec and can record 4:2:0 to the CFexpress slot until you run out of card space or battery. It will also output 4K in 10-bit 4:2:2 over the HDMI socket if you shoot Log or HLG, or are recording to a card at the same time. HDMI output is 8-bit 4:2:0 UHD 8K if you're not in one of these modes and not recording to a card.

The 4K (UHD or DCI) is taken from the 8K capture when shooting at up to 30p. It appears to line-skip to deliver up to 4K/60p from the same region of the sensor.

Frame rates Crop Bit-depth Chroma Codec Bitrate
(Mbps) Rolling shutter C8K mode Internal
(DCI 8K) 30, 25, 24, 23.97 1.17 10-bit 4:2:0 H.265 300 31.5ms HDMI*
(DCI 4K) 4:2:2 8K mode Internal (UHD 8K) 30, 25, 24, 23.97 1.24 10-bit 4:2:0 H.265 300 31.5ms HDMI*
(UHD 4K) 4:2:2 C4K mode DCI 4K 60, 50, 48, 47.95** 1.17 10-bit 4:2:2 H.265 600 15.6ms 30, 25, 24, 23.97 400 31.5ms 4K mode UHD 4K 60, 50, 48, 47.95 1.24 10-bit 4:2:2 H.265 600 15.6ms 30, 25, 24, 23.97 400 31.5ms *C8K or UHD 8K is output over HDMI in 8-bit 4:2:0 if you are not recording internally and not in L-Log or HLG modes.
**Camera outputs 4K/24 or 23.98 over HDMI in 4K 48p or 47.95p modes

The camera offers five preset slots in which you can define resolution, frame rate, codec, compression, with the choice of gamma encoding, Log or HLG capture. This lets you jump between pre-defined modes, rather than risking changing one setting and forgetting to change another (or forgetting to change a contingent setting back, when you revert to your main shooting mode).

The SL3 also has the ability to sync timecode over a flash sync socket on the side of the viewfinder hump.

Body and controls The third command dial on the right of this image sets the SL3 apart from its predecessors

The body of the SL3 looks a lot like the previous SL models but is recognizably a little smaller. And, while the overall appearance is consistent with prior models, there are more changes, the closer you look at the camera.

The biggest change is the addition of a third command dial to the left of the camera's viewfinder. This allows default behavior that puts the key exposure controls, shutter speed and aperture, on the main two command dials and ISO on the new left-hand dial, giving immediate access to all the fundamental photographic settings.

The other really obvious alteration is that the array of three buttons (Play, Fn, Menu) have been shifted across to the right-hand side of the rear screen, so that a tilting screen design can be implemented without conflict between the screen and the buttons.

The on-off switch on the left of the camera has been replaced by a button that you hold down to wake the camera. This is surrounded by an LED indicator that glows green when the camera is charging, pulses white when the camera is in sleep mode and is constantly illuminated white when the camera is awake.

Despite the articulated screen, the SL3 continues to offer the IP54 water and dust protection rating as its predecessor.

It has a 5.76M dot (1600 x 1200 pixel) viewfinder with 0.76x magnification that can run at up to 120fps and a 2.33M dot (1080 x 720 pixel) rear screen that tilts up or down.

Interface

Where the SL3 stands out is in its user interface (UI). Leica has been working on variations of a touch-led interface all the way back to its first L-mount camera, the Leica T (long enough that the mount was still called the T-mount at that point). The SL3's UI isn't quite as radical as its APS-C forebear but it still feels quite innovative compared with most cameras.

The primary means of interacting with the camera is through the three command dials, as you might expect. Their functions can be reconfigured for each of the camera's exposure modes but with the choice of a second configuration if you're using adapted M lenses (ie: if you're using a lens with an aperture ring, you may choose not to assign a dial to aperture value).

The bulk of the camera's other settings are adjusted through its touch-operated settings menu, with a relatively shallow menu system sitting behind this. Holding your finger on one of the onscreen buttons lets you customize its function (the exposure and ISO settings can't be repurposed).

Swipe left and the photo settings give way to the video settings and yellow highlighting (reflecting the color scheme of the distance scales on Leica's Cine lenses).

The settings panel shows either the stills settings or, if you swipe a finger across the screen, the video settings. The settings screen and menus have red indicators when you're in stills mode and yellow to denote video mode.

The camera's live view displays can also be customized, with a choice of which settings appear onscreen, and whether the screen is re-arranged for portrait orientation. Up to six banks of presets that include button and screen customization can be named, saved and exported, so that you can quickly set the camera up for your preferred way of working.

The menu includes touch toggles, meaning you don't need a separate screen for binary choices. On this screen you can limit which options are available when you customize the action of the Fn button, to make operation faster.

The menus themselves include nice touches such as toggle switches for on/off settings, so that you don't need to go into a deeper level of the menus just to switch settings on and off. You can also slim down the list of which settings are available to be assigned to buttons, to make selection quicker.

On top of this, the camera lets you define up to four presets of capture assistants (grids, levels, highlight warnings, etc). The camera will use whichever of these presets you last used and will retain separate settings for capture and playback.

Battery

The SL3 uses a new, higher power BP-SCL6 battery which now offers 15.8Wh capacity (up from 14.4). The camera is still compatible with the older BP-SCL4 batteries but some video functions are only available with the newer version. The camera is rated at a rather low figure of 320 shots per charge per the CIPA standard. But Leica says that it will deliver 1350 shots per charge if the camera auto power off function is used every 50 shots, rather than the standard's 10, giving an insight into why the CIPA standard tends to significantly underestimate most people's real-world usage

A DC-powered dummy battery is available, allowing the camera to be powered using USB-C for extended periods and without tying up the camera's USB-C socket.

Initial impressions

By Richard Butler

The Leica SL3 is an interesting camera, bringing the sensor and many of the developments of the recent M11 models to the L-mount for the first time. The body is appreciably smaller without sacrificing any of the solidity or consistency of look from the existing cameras.

Despite taking more from Leica's technology tie-up with Panasonic, the SL3 isn't simply a rebadged DC-S5 II. The three-dial layout makes it distinct both from the Panasonic and the existing SL models, and this felt informative, as I was using the camera.

It's that focus on the fundamentals, and the back-to-basics rethink that led to it, that leaps out about the SL3. The rest of its specifications aren't particularly different to most of its peers, but the way it's operated is.

The SL3's interface will be unfamiliar to almost everyone at first, in that it doesn't particularly resemble the behavior of most cameras we've encountered. But this is perhaps a good time to remind ourselves that, while the word is often used, almost no aspect of camera operation is literally "intuitive". You don't know how to use a different brand's cameras because it's innately obvious, you do so because it behaves like something you've learned. And our first impressions are that the SL3's interface, while unfamiliar, is simple, sensibly arranged and should be quick to learn.

Leica says it redesigned every one of the camera's icons, and even went so far as to adopt a new typeface for its menus, but these are merely the outward signifiers of a fairly 'ground, up' approach to rethinking how a camera should work.

We suspect we'll find a few quirks and oddities, as we get to use it day-in, day-out, but in a landscape of cameras that can often look and feel interchangeable, with only lens choices to distinguish between them, it's interesting to encounter a camera that tries to do something different. And, in keeping with its maker's reputation, the SL3 seems to be searching for a way to make a camera that's focused on photography's fundamentals.

That said, it's hard not to notice that the SL3 costs around 80% more than Sony's excellent a7R V which also features a 60MP, dual conversion gain BSI CMOS sensor. And that's a significant premium to have to pay for an innovative interface. So the wisdom of choosing the SL3 may come down to your belief in the quality of Leica's lenses, meaning the decision essentially does come back to lens choice.

Buy now:

$6995 at B&H Photo$6995 at Adorama Sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

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Photo: Richard Butler

Nikon has released firmware version 1.60 for the Z fc , which includes a few tweaks and creature comforts for the 2021 camera.

Buy now:

$997 w/ 16-50mm at Amazon $997 w/ 16-50mm B&H Photo $997 w/ 16-50mm at Adorama

The update adds a variety of new 'welcome screens' which are displayed when the camera turns on, if the feature is enabled. It also adds background color options for the information display, and fixes a bug related to assigning Release Mode to a Fn button in AUTO mode.

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It can be downloaded from Nikon's download center.

Below is the full change log:

Changes from “C” Firmware Version 1.50 to 1.60

• More background color options are now available for the [Information display] item in the [SETUP MENU].
• Added a [Welcome screen] item in [SETUP MENU]. A welcome screen will be displayed when the camera is turned on.
• Added [Red REC frame indicator] to the [CUSTOM SETTINGS MENU] in position g7.
• Fixed an issue that [Release mode] could not be properly adjusted using the Fn button in AUTO mode when [Release mode] was assigned to the Fn button.

Updated March 2024

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Travel can expose you to once-in-a-lifetime sights and experiences, and a good camera can be the perfect way to preserve those memories. We've looked at a range of models that offer great image quality, good autofocus and excellent video, so that you can capture whatever you encounter on your travels. We've also tried to select relatively small cameras so they don't interfere with your trip.

Our selections include relatively compact cameras with fixed lenses, perfect for just documenting what you saw on your trip; they also include Micro Four Thirds and APS-C models that allow smaller camera/lens combinations, if you're looking to travel light. Full-frame cameras open up the potential for even better image quality but the lenses can get pretty big, so it's worth checking how big the total package is, before committing to a large-sensor model.

Our recommendations

• Best pocketable travel camera: Ricoh GR III
• The classic choice: Fujifilm X100VI
• Truly compact mirrorless: OM System OM-5
  
• All-round compact capability: Sony a6700
• The great travel kit: Fujifilm X-S20 with 18-55mm F2.8-4.0 OIS
• The stylish travel companion: Nikon Zf
• Portable full-frame: Sony a7CR

Best pocketable travel camera: Ricoh GR III

24MP APS-C sensor | 28mm equiv. F2.8 lens | Wi-Fi + Bluetooth

The Ricoh is a pocketable compact with a large APS-C sensor.

Photo: Barney Britton

Buy now:

$997 at B&H Photo $997 at Adorama $1016 at Amazon What we like:

• Excellent image quality
• Good controls and ergonomics
• Truly pocketable

What we don't:

• Short battery life
• No built-in flash
• Sluggish AF in low light

The Ricoh GR III is the latest in a series of classic compact cameras with a large APS-C sensor and a 28mm equivalent lens. It's not the most flexible camera but it's one of the most pocketable and has built up a dedicated following of photographers who find it a joy to shoot with.

The GR III handles well, despite its size, thanks to well-placed controls, flexible customization options and a responsive touchscreen. The grip is just the right size for easy one-handed operation. The GR III focuses swiftly and accurately in good light, but it slows significantly as light levels drop. There's also a Snap Focus option, where the user can preset a focus distance the camera 'snaps' to with a full press of the shutter button. The GR III's battery life is disappointing, at a rated 200 shots per charge. "Offers direct control and excellent image quality in a pocketable camera"

Our only concern, in terms of using the GR III for travel are that some users have found dust can get into the lens. So it's worth trying to find some sort of protective bag to keep it in.

The Ricoh GR III offers direct control and excellent image quality in a pocketable camera. Its short battery life and fixed focal length lens mean this camera certainly isn't for everyone, but it's a compelling offering for travel, street and casual photographers alike.

There's also the GR IIIx, a variant with a longer, 40mm equivalent lens on it. This may be a little tight for documenting your travels, but it's historically a popular focal length.

Read our Ricoh GR III review

See the Ricoh GR III studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7380089310","isMobile":false}) }) The classic choice: Fujifilm X100VI

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy.

Photo: Richard Butler

Buy now:

$1,599 at B&H Photo $1,599 at Adorama What we like:

• Excellent build quality
• Subject-detection autofocus
• Now with in-body image stabilization

What we don't:

• Lens not especially fast to focus
• Hard to find in stock

Like the Fujifilm X100V before it, the Fujifilm X100VI is a classically styled fixed lens camera with a 35mm equivalent F2 lens. But being in active production following its 2024 launch, the X100VI is somewhat easier to buy than its constantly out-of-stock forebear.

Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI's $200 increase in list price to $1,600.

Like its older brother, the X100VI isn't the smallest or most inconspicuous camera, but its fixed focal length means you develop an 'eye' for the photos it'll take, essentially making it a better quality, more engaging alternative to snapping away with your phone.

The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.

The X100VI brings a level of polish you would expect from a sixth iteration of a camera. Fujifilm has done a great job keeping the X100-series up to date without messing with the formula that's made it so popular. No surprise, this is the best X100 yet.

Unfortunately, despite ramped-up production, demand for the X100VI seems to have outstripped supply with the camera already on backorder at virtually all dealers. With any luck, however, its release will depress the over-inflated sale price of previous generation X100V cameras, which are still quite capable if you can find them for prices befitting used gear.

Read our Fujifilm X100VI review

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7109242674","isMobile":false}) }) Truly compact mirrorless: OM System OM-5

20MP Four Thirds CMOS sensor | 4K/30p video | In-body stabilization rated to 6.5EV (7.5 with some lenses)

Photo: Brendan Nystedt

Buy now:

$999 at B&H Photo $999 at Adorama $999 at Amazon What we like:

• Attractive JPEG output
• Selection of clever photo features
• Excellent image stabilization
• IP53 rating supports claims of weather sealing

What we don't:

• AF tracking is disappointing
• Image quality is behind larger sensor cameras

The OM System OM-5 is a compact interchangeable lens camera with a 20MP Four Thirds sensor in a compact body with plenty of external control.

That relatively small sensor means it can remain fairly small, even with a lens attached, and the Micro Four Thirds lens system provides extensive options in that regard, from compact zooms to small prime lenses.

The OM-5 has a compact body but a decent number of control points and offers a high degree of customization. Its menu system is quite cluttered by the camera's extensive array of features. Viewfinder and rear screen are typical for the price. It has good phase-detect autofocus with face detection, but tracking for other subjects is distinctly unreliable. Using a single point or zone of focus and trying to keep up with the subject yields best results, but is somewhat awkward due to the lack of an AF joystick. "Its combination of IP-rated weather sealing, image stabilization and compact size helps the OM-5 offer something different" The OM-5's 4K video isn't the most detailed, but this is made up for by some of the best image stabilization on the market, making the OM-5 a competent hand-held video option. Video AF tracks faces and people decently, but can struggle with other kinds of subjects. The OM-5 offers strong all-round capability with excellent image stabilization in a compact IP53-rated weather-sealed body and access to one of the largest mirrorless camera lens systems.

Read our OM System OM-5 review

See the OM System OM-5 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0126081229","isMobile":false}) }) All-round compact capability: Sony a6700

26MP BSI CMOS sensor | 4K/60p video capture | Fully articulating screen

Photo: Richard Butler

Buy now:

$1398 at B&H Photo $1398 at Adorama $1398 at Amazon What we like:

• Front and rear command dials
• Excellent AF in stills and video
• 4K/120p capture (with crop)

What we don't:

• No AF joystick
• JPEG sharpening can be aggressive

The Sony a6700 is built around a 26MP APS-C-sized sensor. Its excellent autofocus performance means it excels at both stills and video capture. There's a good choice of relatively compact lenses available, too. We'd suggest avoiding the really small 16-50mm F3.5-5.6 though: it's not the lens to get the most out of this camera.

The a6700 has a thumb-and-forefinger dial interface missing from Sony's less expensive models. It’s just slightly larger than previous models in the line, but in exchange, you also get a fully articulating display. However, it lacks the AF joystick found on many cameras in its class.

Fast, dependable autofocus with a selection of subject recognition modes means the a6700 will help maximize your chances of capturing the unexpected moments on a trip.

"Excellent photo and video quality with best-in-class AF in stills and video make it an excellent choice for enthusiasts." The camera produces very detailed 4K video up to 60p with 10-bit color, with good rolling shutter performance. There’s also a 4K/120p mode, albeit with a 1.58x crop. Autofocus performance is top-notch, with a well-designed touch interface. It's a strong option both for videographers and vloggers. Excellent photo and video quality, best-in-class AF in stills and video, and a deep set of features to support both make it an excellent choice for enthusiasts. Sony's E-mount also includes a good range of available lenses.

Read our full Sony a6700 review

See the Sony a6700 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7692340468","isMobile":false}) }) The great travel kit: Fujifilm X-S20 with 18-55mm F2.8-4.0 OIS

26MP X-Trans APS-C sensor | Up to 6.2K/30P 10-bit video | In-body image stablization

Photo: Shaminder Dulai

Buy now:

$1699 w/ 18-55mm at B&H Photo $1699 w/ 18-55mm at Adorama $1699 w/ 18-55mm at Amazon What we like:

• Excellent still and video quality
• Long battery life
• Comfortable, simple ergonomics

What we don't:

• AF tracking still lags behind peers
• Small electronic viewfinder
• Micro HDMI instead of full-size

Fujifilm's X-S20 is also worth considering. Like the a6700, it's built around a 26MP BSI CMOS sensor and is strong at both stills and video. Its autofocus isn't as simple and powerful as the Sony's, but its JPEG color modes produce really attractive results, and there's a wide choice of lenses including compact prime and the well-priced, supremely useful 18-55mm F2.8-4.0 OIS, which is a great travel option.

The camera has an approachable layout with two customizable dials set into a large hand grip. The camera is well-built and feels robust thanks to its partial metal construction. The EVF is a little small, though. "The X-S20 delivers a long list of options to still shooters and vloggers alike, all while offering solid battery life." Overall image quality is very good. JPEGs have pleasing color, and Film Simulation modes make it easy to change the style of your photos. Some cameras capture more detail at low sensitivities, but the X-S20 is more competitive at high ISOs. The camera's sensor gives you plenty of latitude when processing Raw images. The X-S20's video specs are impressive, with 10-bit 4K capture at up to 60p. Videographers will appreciate its F-Log capture, while the Eterna color profile is attractive if you want a simpler workflow. An optional fan extends record times but autofocus isn't especially dependable. The X-S20 takes Fujifilm's higher-end still and video features and puts them into a simple, cleanly designed body with built-in image stabilization. Image quality is great, autofocus is good in most situations, and the breadth of video features is impressive.

Read our Fujifilm X-S20 initial review

See the Fujifilm X-S20 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7569171898","isMobile":false}) }) The stylish travel companion: Nikon Zf

24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV

Photo: Richard Butler

Buy now:

$1997 at B&H Photo $1997 kit at Adorama $1997 at Amazon What we like:

• Distinctive design with direct controls
• Effective subject recognition
• Strong stills and video features

What we don't:

• Weight and minimal grip can become uncomfortable
• Slow MicroSD second slot
• Few custom buttons

The Nikon Zf is a classically styled full-frame camera built around a 24MP full-frame sensor that's used by many of its peers. The angular 80s-style body isn't the most comfortable to hold in your hand for extended periods, but the lack of stick-out grip makes it smaller than many of its rivals, making it a tempting travel companion.

At least in its all-black form, there's a chance of it being mistaken for a film camera, which may help avoid the wrong kind of attention, when you're out and about in an unfamiliar setting.

The Zf gives the choice of using the dedicated control dials or customizable command dials. In most respects it copies its well-polished control system from other recent Nikons. Not everyone will enjoy the angular early 80's handling but it handles just as well as the cameras it resembles. The Zf's autofocus is impressive, with both subject recognition and AF tracking both working well. It's perhaps not quite as confidence-inspiring as the latest Sony cameras, but it's not far off. It'd be nice to have an AF joystick but the rear control pad does a decent job. "The Zf's looks may date from 1981, but its performance is completely contemporary" The Zf has a very solid video feature set. Oversampled 4K/30 and cropped 4K/60 is standard for this sensor, but the Zf also adds a waveform display that's especially useful for exposing its 10-bit Log footage. The Zf uses a very familiar 24MP BSI sensor that has underpinned numerous cameras in recent years, and the results are predictably good. There's plenty of dynamic range and enough detail capture for all but the most demanding applications. The Nikon Zf's performance lives up to its looks. It's not as comfortable to hold for long periods as more modern designs, but it's also distinctive and engaging in a way they're arguably not. We're still completing our testing, but it hasn't disappointed yet.

Read our initial review of the Nikon Zf

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"6922569214","isMobile":false}) }) Portable full-frame: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

Buy now:

$2998 at B&H Photo $2998 at Adorama $2998 at Amazon What we like:

• Big camera features in a small body
• Outstanding AF performance
• Auto Framing video mode

What we don't:

• Small, low-res viewfinder
• No joystick control
• No fully mechanical shutter

The Sony a7CR is a relatively compact full-frame camera with an image-stabilized 61MP CMOS sensor. You sacrifice the convenience of an AF joystick and get a pretty small and basic viewfinder to keep the camera's size down, but there's little else that delivers this much image quality in such a compact package.

You'll need to pick your lenses carefully to keep the camera portable but the a7CR's autofocus means it can respond rapidly to just about anything you encounter on your travels.

The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much. Autofocus performance on the a7CR is very good and is helped by a dedicated processor for crunching complex machine learning-trained algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in either stills or video. 8 fps burst shooting with continuous AF results in a dependably high hit rate. "If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat." The a7CR captures 4K video at up to 60 fps. The most detailed, oversampled footage results from a 1.2x crop of the sensor, which makes it challenging to maintain wider focal lengths. Auto Framing mode uses AI algorithms to mimic the way a camera operator might punch in on subjects, keeping them framed and in focus. The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a little noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO. The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.

Read our Sony a7CR initial review

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0740273820","isMobile":false}) }) Why you should trust us

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

Photo: Eric Limer

Sony's FE 24-50mm F2.8 G is a fast, compact walk-around lens for its full-frame E-mount cameras. We took it out in snow and sun in New Jersey to put it through its paces.

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In practice, we found that it makes for a light and portable package with convenient and satisfying hands-on controls and quick and quiet focus. Take a look at the gallery below, and see what you think!

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Note: Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

Buy now:

$1,098 at B&H Photo $1,098 at Adorama

The Fujifilm X100V has become something of a star on TikTok, which has contributed to it becoming hard to find.

Editor's note: The Fujifilm X100VI has been announced. Read our initial review here.

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The Fujifilm X100V is a lovely camera: the fifth in a series we've always liked and recipient of our Gold award, for the net effect of the improvements that have been made to the latest version.

The original X100 launched Fujifilm's premium 'X' series of cameras and prefigured the company's move to mirrorless with the X-mount. It was one of the first large sensor fixed lens cameras, and boosted its desirability with a combination of classic rangefinder styling, a Electro/Optical hybrid viewfinder and traditional controls.

In fact the series has become so desirable that it's almost impossible to actually buy an X100V (without paying a substantial premium over the list price). This may be a knock-on effect of the chip shortages and supply chain problems, post lockdown, an intentional restriction in supply to keep prices strong or the winding-down of production in anticipation of a new model, we can't be sure. But what we do know is that, if you want a small, hands-on street/travel camera with a 35mm equiv lens, you might have to look for a plan B.

The list price of the X100V is $1399, so that's the approximate budget I've imagined.

Mirrorless options

I've looked at X100 substitutes before, trying to see whether there were any substitutes you could cobble together using a small prime lens on a mirrorless camera. At the time Canon's 22mm F2 lens and the Olympus 17mm F1.8 offered the best ways to gain the 35mm equivalent range. The Olympus is the nicer of the two lenses: faster to focus and with a snap-back focus clutch and styling that's more in keeping with the Fujifilm.

These remain the best choices if compactness and matching the X100 field-of-view are your priorities. However, both present a challenge in terms of what you can match them with. OM Digital Solutions appears to have trimmed back the PEN range, with only the 'Lite' E-PL10 model available in North America. European customers have the option of the E-P7, which offers a more hands-on interface and classic styling, so is perhaps worth a look.

The Canon EF-M 22mm F2 is an even more tricky prospect. It's hard to believe Canon will provide much more for the system (Sigma appears to have already moved on), so while the pairing of a Canon EOS M6 II and 22mm makes an excellent combination, it might be best to assume that the EF-M lenses that now exist are all there ever will be. If your choice of other lenses is limited, then the benefit of choosing a mirrorless camera over a fixed-lens one is significantly diminished.

Ricoh's GR IIIx is one possible alternative. It has an APS-C sensor, but a slightly tighter 40mm-equiv. F2.8 lens. It's much smaller than the Fujifilm and lacks anything approaching its hybrid viewfinder.

If you're less size conscious, there are 23mm F1.4s from Viltrox, Tokina and now Sigma, available variously for E, EF-M, L and X-mounts, or the Fujifilm 23mm F2, which still sticks out a bit if you can still find an X-E4. Personally I think by the time you get to a Sony a6x00 body and a Viltrox 23mm F1.4, you've got so far from the small, enjoyable and desirable ethos of the X100 that you should start looking for landmarks and remind yourself of where you were trying to get to.

Fujifilm's 27mm F2.8 offers a 40mm equiv. option but it's slow (in most senses) and not especially cheap, so I'm not sure I see the appeal, personally. It's a similar story for Nikon's Z-mount 26mm F2.8 for me: it'll look nice on a Z fc, but the tighter view and slower aperture put me off. Panasonic's 20mm F1.7 II has its charms but it's pretty slow to focus and like the Olympus 17mm lens, it's not obvious which body it should be mounted on.

Fixed-lens alternatives

There aren't other current fixed-lens models offering a 35mm equiv. lens in front of a large sensor, but Ricoh's GR IIIx comes close, with its APS-C sensor and 40mm-equiv F2.8 lens. It's much smaller than the Fujifilm and lacks anything approaching its hybrid viewfinder, but it's a lovely camera to shoot with and has its own devout following.

If a wider-angle view of the world is more your thing, the non-X Ricoh GR III comes into play, as does the fabulous (and fabulously expensive) Leica Q2. Both are lovely cameras, though the Leica is pretty substantial and both Ricohs benefit from a pocket of spare batteries.

Second-hand options The X100F offers a lot of what the X100V does, but the second-hand prices of the 'F' have crept up, with the newer model being in short supply.

Widen your net to second-hand options and the choices become significantly broader, albeit with added risk of the product not being as pristine as promised, not necessarily having any sort of warranty and possibly not existing, once your payment has cleared. Caveat emptor, and all that. Large second-hand dealers such as MPB and KEH give some peace of mind, but you're unlikely to find any fortuitous bargains from companies that know what the market rate is.

Obviously the best substitute for a lovely new X100V is a 'previously loved' X100V, but the scarcity of new copies is likely to have inflated second-hand prices. The X100F is the next best thing, frankly. You lose out on the slightly nicer new lens, the adjustable screen and the 26MP sensor, but the 'F's 24MP sensor is a pretty good substitute and if anything the viewfinder is a little better. That said, the shortage of X100Vs has had a knock-on effect on the second-hand prices of older models.

It becomes harder to recommend models much earlier than this. I don't say this to outrage the still happy X100S or X100T owners, but the 16MP sensor shows up the challenges of processing X-Trans in all but the most compliant software, you lose the joystick, revert to a smaller battery and are buying a camera that's got at least five years of unknowable use behind it. As for the original 12MP X100, it was a groundbreaking camera in its day but that day was over a decade ago. As an owner, I love what it allowed me to do, and it holds many happy memories for me, but too much has improved since then to seriously recommend one today: retro styling is much more appealing than dated performance.

The Sony RX1R II uses a full-frame sensor, but otherwise offers a similar configuration to the X100V: a small body with a 35mm F2 lens. However, don't forget to pack along extra batteries.

So what else is out there? You might find a Sony RX1, RX1R or RX1R II. These were full-frame compacts with 35mm F2 lenses and were capable of delivering beautiful images. But the first two models were slow-to-focus, even for 2013, so I'd recommend you steer clear at this point. The RX1R II improved things a little with phase-detection AF and even found room for a pop-up viewfinder. Sadly the battery life was atrocious (I've made the 'delivering a real film-like experience by making you stop every 36 exposures' joke more than once), so it's worth being aware of what you're letting yourself in for.

What would you recommend?

We have distinct reservations about all the available options. An EOS M6 II and 22mm F2 is a great combination to shoot with (I found the original M6 and 22 made for a very agreeable traveling companion on a European trip), but we'd be wary of investing much more than that in EF-M lenses. The Ricoh GR IIIx is probably makes the best understudy for the X100V: its lens is slower but it's also smaller and less expensive, and great fun to shoot with. Beyond that, it depends what you can find, second-hand.

Ultimately, though, while some of the options I've set out can offer the 35mm equiv. coverage of the X100V, and some can match the hands-on, photographer-friendly experience, none have anything to match Fujifilm's unique hybrid viewfinder and none combine all of these factors in such an attractive package. So, sadly, I'd conclude the best alternative to buying an X100V today is to add your name to a list for when one becomes available. Or cross your fingers that the X100 is the next model Fujifilm plans to update...

10 cameras that weren't announced at CP+ 2024

Photo: Richard Butler

CP+ 2024 has come and gone, and in terms of camera announcements, it didn't bring much. Yes, there was the Fujifilm X100VI (technically announced before CP+ actually began) and... not much else but a bunch of lenses. It's easy to get your hopes up for that camera you've been waiting for, but historically, CP+ doesn't have that strong a history of camera launches.

However, that got us thinking about what cameras could have been announced but weren't. Here are some (relatively) educated guesses about some replacements and updates we feel are due soon. (To be clear, we don't have any inside knowledge of, nor have we been briefed about, any of these hypothetical products.)

Canon Photo: Dan Bracaglia

Canon had a grand total of zero camera body and lens announcements at this year's CP+, so there's a lot of nothing to choose from. Perhaps the most conspicuous absence, though, was the EOS R5 II.

The original EOS R5 is an excellent all-arounder with its 45-megapixel sensor, impressive in-body stabilization, great autofocus and ergonomics, though it can suffer from overheating concerns when shooting video at its highest resolution settings. Launched in 2020, it increasingly finds itself in competition with newer rivals like the Sony a7RV and, in particular, the Nikon Z8 (both new in 2023). Logic still suggests the EOS R5 II will break cover this year, but evidently not at CP+.

Canon also did not show up with the long-fabled EOS R1, though that was never going to be particularly likely. However, if Canon does have such a hypothetical product in the works with plans to roll it out in time for the 2024 Summer Olympics, time is running short.

Nikon Photo: Dan Bracaglia

Another manufacturer with some still presumably impending announcements is Nikon, and no news at CP+ meant no Z6 III.

The Z6II (2020) is one of the older cameras in Nikon's lineup and was itself a relatively minor refresh of the original Z6, and rumors of a successor have been circulating for months in the runup to CP+ 2024. Obvious upgrades could include an update to the Expeed 7 processor found in the Z8 and Z9 and features cribbed from the Nikon Zf, which may essentially be the Z6 III, just launched in a different body. But it wasn't in the cards for this February.

Sony Photo: Dan Bracaglia

Sony's primary CP+ 2024 announcement was its new compact FE 24-50mm F2.8 lens, but neither a new flagship a1 II nor a ZV-E10 II, updated to sport the 26MP sensor found in the a6700, made an appearance.

Sony's flagship a1, released in early 2021, is coming up on its third birthday next month and is due for an update to keep it in fighting trim against competitors like Nikon's Z9, and rumors have suggested it's due out sometime in 2024. Evidently sometime later than February.

The ZV-E10 is fresher than the a1 by a few months, but a vlogger-targeted ZV-E10 II could get a straightforward sensor update, pulling from 2023's a6700 and, for that matter, from the Cinema line's FX30. The current ZV-E10 shares its sensor with 2016's a6300, which is prone to significant rolling shutter and needs to crop to deliver 4K/30p, neither of which is a concern on the 26MP chip. This, along with Sony's latest AF capabilities, would make a much more capable vlogging tool.

Panasonic Photo: Dan Bracaglia

Panasonic used CP+ 2024 as a launchpad for its new Lumix S 28-200mm F4-7.1 macro travel zoom following its CES 2024 announcement of a compact 100mm F2.8 macro lens. But no new camera bodies are to be found as yet.

Panasonic's five-year-old flagship S1 has been marked as discontinued at some stores in Japan, which would make its successor S1 II a shoo-in for 2024. So far, however, there has not been a whiff of a new model, nor any indication of an S1H II to replace 2020's video-focused Lumix DC-S1H. The smaller, more affordable S5 series has received an update with phase detection AF, but this leaves room for a higher resolution chip for an S1 replacement (and, perhaps, a merging of the S1 and S1R lines), and a better video-optimized sensor, with less rolling shutter, for the S1H.

Fujifilm Photo: Dan Bracaglia

Fujifilm's X100VI, which landed just before CP+ 2024 kicked off, was arguably the belle of the ball, but there are a few other cameras that could have showed up, but didn't.

The X100VI puts the sensor from the 2022 X-T5 into its TikTok-trendy fixed-lens body; there was no indication of an X-E5 that would presumably bring Fujifilm's X-T5 sensor into a more diminutive body that still supports interchangeable lenses of Fujifilm's X-mount variety.

Likewise, an X-T40 has yet to rear its head. Perhaps in the wings, or perhaps preempted by the X-S20, it did not show up at CP+ at least. And, of course, neither of these lines is necessarily guaranteed to continue. So even if the upgrade is logically due, it may never come.

OM System

OM System's biggest release of 2024 so far, the OM-1 Mark II, hit a month before CP+ and had no new bombshells for the show proper. One can imagine a world, though, where we saw a PEN F II.

Since Olympus's camera division fully transformed into OM System in 2022, the company has revisited the OM-1 (twice), the OM-5, and the 'Tough' series with the OM Tough TG-7. What's missing in a world where retro-styled cameras are increasingly the rage? A revisit to the PEN line, which hasn't seen a global release since Olympus PEN F launched in 2016 (but there was the EP-7). Our forthcoming interview with OM System left us feeling this wasn't the end of the line.

10 cameras that weren't announced at CP+ 2024

Photo: Richard Butler

CP+ 2024 has come and gone, and in terms of camera announcements, it didn't bring much. Yes, there was the Fujifilm X100VI (technically announced before CP+ actually began) and... not much else but a bunch of lenses. It's easy to get your hopes up for that camera you've been waiting for, but historically, CP+ doesn't have that strong a history of camera launches.

However, that got us thinking about what cameras could have been announced but weren't. Here are some (relatively) educated guesses about some replacements and updates we feel are due soon. (To be clear, we don't have any inside knowledge of, nor have we been briefed about, any of these hypothetical products.)

Canon Photo: Dan Bracaglia

Canon had a grand total of zero camera body and lens announcements at this year's CP+, so there's a lot of nothing to choose from. Perhaps the most conspicuous absence, though, was the EOS R5 II.

The original EOS R5 is an excellent all-arounder with its 45-megapixel sensor, impressive in-body stabilization, great autofocus and ergonomics, though it can suffer from overheating concerns when shooting video at its highest resolution settings. Launched in 2020, it increasingly finds itself in competition with newer rivals like the Sony a7RV and, in particular, the Nikon Z8 (both new in 2023). Logic still suggests the EOS R5 II will break cover this year, but evidently not at CP+.

Canon also did not show up with the long-fabled EOS R1, though that was never going to be particularly likely. However, if Canon does have such a hypothetical product in the works with plans to roll it out in time for the 2024 Summer Olympics, time is running short.

Nikon Photo: Dan Bracaglia

Another manufacturer with some still presumably impending announcements is Nikon, and no news at CP+ meant no Z6 III.

The Z6II (2020) is one of the older cameras in Nikon's lineup and was itself a relatively minor refresh of the original Z6, and rumors of a successor have been circulating for months in the runup to CP+ 2024. Obvious upgrades could include an update to the Expeed 7 processor found in the Z8 and Z9 and features cribbed from the Nikon Zf, which may essentially be the Z6 III, just launched in a different body. But it wasn't in the cards for this February.

Sony Photo: Dan Bracaglia

Sony's primary CP+ 2024 announcement was its new compact FE 24-50mm F2.8 lens, but neither a new flagship a1 II nor a ZV-E10 II, updated to sport the 26MP sensor found in the a6700, made an appearance.

Sony's flagship a1, released in early 2021, is coming up on its third birthday next month and is due for an update to keep it in fighting trim against competitors like Nikon's Z9, and rumors have suggested it's due out sometime in 2024. Evidently sometime later than February.

The ZV-E10 is fresher than the a1 by a few months, but a vlogger-targeted ZV-E10 II could get a straightforward sensor update, pulling from 2023's a6700 and, for that matter, from the Cinema line's FX30. The current ZV-E10 shares its sensor with 2016's a6300, which is prone to significant rolling shutter and needs to crop to deliver 4K/30p, neither of which is a concern on the 26MP chip. This, along with Sony's latest AF capabilities, would make a much more capable vlogging tool.

Panasonic Photo: Dan Bracaglia

Panasonic used CP+ 2024 as a launchpad for its new Lumix S 28-200mm F4-7.1 macro travel zoom following its CES 2024 announcement of a compact 100mm F2.8 macro lens. But no new camera bodies are to be found as yet.

Panasonic's five-year-old flagship S1 has been marked as discontinued at some stores in Japan, which would make its successor S1 II a shoo-in for 2024. So far, however, there has not been a whiff of a new model, nor any indication of an S1H II to replace 2020's video-focused Lumix DC-S1H. The smaller, more affordable S5 series has received an update with phase detection AF, but this leaves room for a higher resolution chip for an S1 replacement (and, perhaps, a merging of the S1 and S1R lines), and a better video-optimized sensor, with less rolling shutter, for the S1H.

Fujifilm Photo: Dan Bracaglia

Fujifilm's X100VI, which landed just before CP+ 2024 kicked off, was arguably the belle of the ball, but there are a few other cameras that could have showed up, but didn't.

The X100VI puts the sensor from the 2022 X-T5 into its TikTok-trendy fixed-lens body; there was no indication of an X-E5 that would presumably bring Fujifilm's X-T5 sensor into a more diminutive body that still supports interchangeable lenses of Fujifilm's X-mount variety.

Likewise, an X-T40 has yet to rear its head. Perhaps in the wings, or perhaps preempted by the X-S20, it did not show up at CP+ at least. And, of course, neither of these lines is necessarily guaranteed to continue. So even if the upgrade is logically due, it may never come.

OM System

OM System's biggest release of 2024 so far, the OM-1 Mark II, hit a month before CP+ and had no new bombshells for the show proper. One can imagine a world, though, where we saw a PEN F II.

Since Olympus's camera division fully transformed into OM System in 2022, the company has revisited the OM-1 (twice), the OM-5, and the 'Tough' series with the OM Tough TG-7. What's missing in a world where retro-styled cameras are increasingly the rage? A revisit to the PEN line, which hasn't seen a global release since Olympus PEN F launched in 2016 (but there was the EP-7). Our forthcoming interview with OM System left us feeling this wasn't the end of the line.

Eric Fossum and the team that invented the CMOS image sensor, at NASA's Jet Propulsion Laboratory.

Image credit: NASA/JPL-Caltech

Eric Fossum, the celebrated inventor of the modern CMOS sensor and longtime friend of DPReview, recently appeared on the B&H Photography Podcast to reminisce on his work at NASA's Jet Propulsion Laboratory (JPL) on the invention of the CMOS image sensor in 1993, its surprising origins and his years-long attempts to convince US manufacturing companies to use it for consumer goods.

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It's not an overstatement to say his technology changed the world. We may look at our smartphones, turn on the TV, or use a webcam for virtual meetings. When we leave our homes, we may back a car out of a parking space with a backup camera, be seen by security cameras or be captured in the background of social media videos. A CMOS image sensor makes these devices possible in each of these instances.

The funny thing is, this father of modern photography didn't even care much for the medium growing up.

"I enjoyed it, but I wouldn't say I was fascinated by it," Fossum said about cameras and photography during his youth.

To put it into context, Fosum was born in October 1957 (the same month Sputnik was launched, but more on that later), and picture-taking was an expensive endeavor. He recalled his parents giving him permission to use the family's Kodak Brownie to take a picture on rare occasions and then just one, saying things like, "Okay, today is Wednesday; you can take another picture."

A 1958 TV commercial from 1958 for the Kodak Brownie camera.

Today, he takes pictures more freely. One friend has described him as a postcard photographer, to which Fossum responded that he isn't quite sure if that is an insult or a compliment.

"Not a day goes by where the world doesn't interact with the technology Fosssum created."

Fossum's journey toward reinventing how we think of cameras and imaging began with a fascination with science and space. He was born the same month and year Russia launched Sputnik and grew up with the space race it spawned.

From playing with toy rockets and propulsion techniques as a child, he later went on to play with the real thing with a Howard Hughes Fellowship. The fellowship allowed him to work on missile guidance systems at the Hughes Aircraft Company in California over three summers.

There, he worked on a project that was starting to place cameras into missile heads to help the missile hit its intended target. That set him down a path into electronics, and by the mid-80s he was teaching electrical engineering at Columbia University. Space was still of interest to him, but his work in electronics had taken him down a different path and he had resigned himself to it.

The Sputnik satellite was launched the same month Fossum was born, kicking off the space race that influenced his youth and interest in space and science.

While teaching, he was also researching CCD technology and focal plane image processing. The metaphysical nature of photons as a wave and a particle also made it fun to think about. "I had been thinking about image sensors," he recalled. "But decided who needs it?"

Then NASA came knocking.

The US space agency was aware of his work and wanted to develop cheaper and faster cameras that could survive in space long term. "All of a sudden, when it became clear that what I was working on was of interest to NASA, I was just like, oh yeah, sign me up," Fossum said. "They didn't have to ask twice."

Fossum joined NASA's JPL in 1990, and with their support, he began the development of CMOS image sensors. He showed NASA how the technology was superior to CDD for space travel: CMOS cameras would require less power to operate, they could be smaller in form factor without the additional parts CCD required, and fewer parts mean less weight and fewer things that could break down, and they were better at withstanding the cosmic rays of space than CCD.

A CMOS active pixel image sensor chip fits on a fingertip.

Image credit: NASA/JPL-Caltech

It also helped that CMOS was a technology already being used to manufacture integrated circuits for many electronics, and the infrastructure to build a CMOS image sensor was already in place.

"It was really that driver. I was able to argue why we had to ... explore CMOS image sensor technology, and NASA invested in that," Fossum said. "(That's) why you have a camera in your pocket right now."

Fossum is also quick to point out he didn't do it alone. "All engineers stand on the shoulders of the giant engineers that came before us," he remarks several times during the interview. His work was built on the pioneering work of generations before him and the teams that worked with him.

The stacked CMOS sensors of the Nikon Z9 are a descendant of the first CMOS sensors created in the 1990s.

The whole story is worth a listen: Fossum details the science of light, the first products to use CMOS image sensors and some lovely breakdowns of how CCD and CMOS sensors capture images.

Not a day goes by when the world doesn't interact with the technology Fossum created. It's as ubiquitous a part of our modern life as a father talking about the weather or a DPReview editor tinkering with new gear.

Eric Fossum and the team that invented the CMOS image sensor, at NASA's Jet Propulsion Laboratory.

Image credit: NASA/JPL-Caltech

Eric Fossum, the celebrated inventor of the modern CMOS sensor and longtime friend of DPReview, recently appeared on the B&H Photography Podcast to reminisce on his work at NASA's Jet Propulsion Laboratory (JPL) on the invention of the CMOS image sensor in 1993, its surprising origins and his years-long attempts to convince US manufacturing companies to use it for consumer goods.

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It's not an overstatement to say his technology changed the world. We may look at our smartphones, turn on the TV, or use a webcam for virtual meetings. When we leave our homes, we may back a car out of a parking space with a backup camera, be seen by security cameras or be captured in the background of social media videos. A CMOS image sensor makes these devices possible in each of these instances.

The funny thing is, this father of modern photography didn't even care much for the medium growing up.

"I enjoyed it, but I wouldn't say I was fascinated by it," Fossum said about cameras and photography during his youth.

To put it into context, Fosum was born in October 1957 (the same year Sputnik was launched, but more on that later), and picture-taking was an expensive endeavor. He recalled his parents giving him permission to use the family's Kodak Brownie to take a picture on rare occasions and then just one, saying things like, "Okay, today is Wednesday; you can take another picture."

A 1958 TV commercial from 1958 for the Kodak Brownie camera.

Today, he takes pictures more freely. One friend has described him as a postcard photographer, to which Fossum responded that he isn't quite sure if that is an insult or a compliment.

"Not a day goes by where the world doesn't interact with the technology Fosssum created."

Fossum's journey toward reinventing how we think of cameras and imaging began with a fascination with science and space. He was born the same month and year Russia launched Sputnik and grew up with the space race it spawned.

From playing with toy rockets and propulsion techniques as a child, he later went on to play with the real thing with a Howard Hughes Fellowship. The fellowship allowed him to work on missile guidance systems at the Hughes Aircraft Company in California over three summers.

There, he worked on a project that was starting to place cameras into missile heads to help the missile hit its intended target. That set him down a path into electronics, and by the mid-80s he was teaching electrical engineering at Columbia University. Space was still of interest to him, but his work in electronics had taken him down a different path and he had resigned himself to it.

The Sputnik satellite was launched the same month Fossum was born, making way for the space race that influenced his youth and interest in space and science.

While teaching, he was also researching CCD technology and focal plane image processing. The metaphysical nature of photons as a wave and a particle also made it fun to think about. "I had been thinking about image sensors," he recalled. "But decided who needs it?"

Then NASA came knocking.

The US space agency was aware of his work and wanted to develop cheaper and faster cameras that could survive in space long term. "All of a sudden, when it became clear that what I was working on was of interest to NASA, I was just like, oh yeah, sign me up," Fossum said. "They didn't have to ask twice."

Fossum joined NASA's JPL in 1990, and with their support, he began the development of CMOS image sensors. He showed NASA how the technology was superior to CDD for space travel: CMOS cameras would require less power to operate, they could be smaller in form factor without the additional parts CCD required, and fewer parts mean less weight and fewer things that could break down, and they were better at withstanding the cosmic rays of space than CCD.

A CMOS active pixel image sensor chip fits on a fingertip.

Image credit: NASA/JPL-Caltech

It also helped that CMOS was a technology already being used to manufacture integrated circuits for many electronics, and the infrastructure to build a CMOS image sensor was already in place.

"It was really that driver. I was able to argue why we had to ... explore CMOS image sensor technology, and NASA invested in that," Fossum said. "(That's) why you have a camera in your pocket right now."

Fossum is also quick to point out he didn't do it alone. "All engineers stand on the shoulders of the giant engineers that came before us," he remarks several times during the interview. His work was built on the pioneering work of generations before him and the teams that worked with him.

The stacked CMOS sensors of the Nikon Z9 are a descendant of the first CMOS sensors created in the 1990s.

The whole story is worth a listen: Fossum details the science of light, the first products to use CMOS image sensors and some lovely breakdowns of how CCD and CMOS sensors capture images.

Not a day goes by when the world doesn't interact with the technology Fossum created. It's as ubiquitous a part of our modern life as a father talking about the weather or a DPReview editor tinkering with new gear.

The Nikon Z9 is going to the moon. NASA has selected the high-end Z9, one of the most complete cameras we've ever tested, as the official handheld camera for the Artemis III mission, set to launch in 2026 (give or take), which will put astronauts on the moon for the first time since 1972.

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But it won't be your average Z9 that makes it off-planet. As one might expect, the Z9 will be heavily modified to handle both the rigors of space travel and life on the moon.

Nikon and NASA are redesigning circuitry to prevent cosmic radiation from damaging the camera, and a new grip is being added with special buttons for common controls so astronauts can operate it while wearing gloves. Custom firmware will modify noise reduction, HDR features, menus, file numbering, and more. Several Nikkor Z lenses will also be modified to cope with the surface of the moon.

The end result is a device that NASA calls the HULC (Handheld Universal Lunar Camera). As NASA notes, it's a huge leap forward from when Apollo astronauts used viewfinderless large-format film cameras that were attached to their spacesuits at chest level.

NASA astronauts Zena Cardman and Drew Feustel practice using an early design of the Handheld Universal Lunar Camera during the Joint Extravehicular Activity and Human Surface Mobility Test Team (JETT) Field Test 3 in Arizona.

NASA / Bill Stafford

The Z9 will head to space aboard the enormous Space Launch System rocket, which will deploy the Orion spacecraft that will make the trip to the moon and back. The capsule will join the SpaceX-designed Starship, which will perform the moon landing. Six-and-a-half days later, Starship will return to space to meet Orion for the journey back to Earth, where it will splash down in the Pacific Ocean.

More details about the Nikon Z9's trip to space can be found below. Those interested in the mission can visit NASA's Artemis III website.

MIRRORLESS GOES TO THE MOON: NIKON ENTERS INTO SPACE ACT AGREEMENT WITH NASA FOR ARTEMIS MISSION SUPPORT WITH THE NIKON Z 9 CAMERA Nikon and NASA Collaborating on Handheld Camera Development

MELVILLE, NY (February 29, 2024) – Nikon Inc. has entered into a Space Act agreement with the National Aeronautics and Space Administration (NASA) to support the agency’s Artemis campaign with the Handheld Universal Lunar Camera (HULC) development. The Nikon Z 9, Nikon’s mirrorless full-frame flagship, as implemented in the HULC system, will be the handheld camera for the upcoming Artemis III mission which will be used by the crew returning to the surface of the Moon.

The Artemis campaign is an ambitious and important undertaking for humanity. Artemis will return us to the Moon in order to establish a foundation for long-term scientific lunar research and exploration, eventually leading as a passageway for travel to Mars. Since humankind’s first forays into space, handheld cameras have been used to document the journey, sending back iconic imagery and for research. This Space Act Agreement is a collaboration between NASA and Nikon Inc. to ensure the current state-of-the-art full-frame camera can survive lunar environments while developing an efficient and optimal platform for image and video capture for the mission.

“The opportunity to collaborate with NASA on this endeavor is simply exhilarating yet humbling, as we realize the benefits of this mission have the potential to affect all of mankind in the future,” said Naoki Onozato, President and CEO, Nikon Inc. “As one of the many suppliers and manufacturers collaborating with NASA as part of the Space Act, our aim is to best equip the crew as they bravely bring humanity back to the surface of the Moon, and possibly beyond.”

The Artemis III mission is scheduled to launch NASA’s SLS (Space Launch System) rocket with the agency’s Orion spacecraft in September 2026. The crew’s historic expedition will be the first human landing on the lunar surface since 1972, and this mission will also mark the first time a woman will walk on the Moon. During this 30-day mission, the crew will enter lunar orbit, after which two astronauts will land on the lunar surface in the lunar module (SpaceX’s Starship Human Landing System). After spending approximately seven days on the lunar surface conducting research and multiple Moonwalks, they will return to the Orion spacecraft to join the other two crew members and return to Earth. To help capture imagery, the mission has the need for a common camera platform to reduce overall mass and development efforts while simplifying training and increasing efficiency.

About the Modified Cameras

The Moon surface and lunar environment is a harsh and unforgiving vacuum, which poses multiple technological and engineering challenges. The surface is subject to massive temperature swings, with constant bombardment of cosmic radiation that can damage electrical components. Nikon’s engineers are working closely with NASA to develop solutions to maximize reliability when operating under this kind of extreme environment, including the redesign of various circuits and control sequences within the camera to withstand the vast amounts of radiation. Support will also be given for thermal vacuum testing, running various tests and simulations to help ensure that the camera maintains operational status when 238,000 miles away from Earth.

Additionally, the camera will need to be used by astronauts during extravehicular activities (EVAs), which are instances when the crew will be in space or on Moonwalks. In order for astronauts to comfortably and easily use the Z 9 when wearing the thick gloves of a spacesuit, a custom grip is being developed by NASA, which includes common controls such as a shutter release, playback, still/video capture switching and more. This grip will connect to the camera via the 10-pin terminal, which will be usable with specialized custom firmware created for the cameras. To protect the camera, lens and housing during EVA, a special “thermal blanket” will be created by NASA, which is similar to those currently used during exterior spacewalks by International Space Station astronauts. A selection of NIKKOR Z lenses will also be used for the mission, and those that will be actively used on the Moon will be modified to withstand the harsh lunar environment.

Like the cameras used by the Space Station crew, the firmware will also be specially modified for this mission. These modifications include accounting for the different circuitry, expanding noise reduction to lower shutter speeds to account for the effects of constant bombardment of cosmic radiation that the crew and gear encounter. Additional changes have been made to the file naming sequence, as well as default settings and controls that are optimized for exterior missions. Changes have also been made to the in-camera communication control to simplify the astronaut’s workflow. Additional modifications include shutter shield optimization, enhanced HDR functionality and modified default settings for menu items.

Chronicling History Together

Nikon cameras have been used by NASA and space agencies extensively, most recently with the arrival of unmodified Z 9 camera to the crew of the International Space Station. Since the Apollo 15 mission more than 50 years ago, Nikon cameras and lenses have been used by NASA for space exploration. Starting in 1999, Nikon cameras (Nikon F5) and NIKKOR lenses have been used aboard the ISS to aid in scientific research, maintenance and aiding astronauts capturing iconic images of the Earth, the heavens and beyond.

For more information about the NASA Space Act agreement, and a list of the current Space Act agreements, please visit the website here.

For more information the Z 9, Nikon’s full-frame mirrorless flagship, please visit Nikonusa.com/z9.

The Nikon Z9 is going to the moon. NASA has selected the high-end Z9, one of the most complete cameras we've ever tested, as the official handheld camera for the Artemis III mission, set to launch in 2026 (give or take), which will put astronauts on the moon for the first time since 1972.

Recent Videos!function(n){if(!window.cnx){window.cnx={},window.cnx.cmd=[];var t=n.createElement('iframe');t.src='javascript:false';t.display='none',t.onload=function(){var n=t.contentWindow.document,c=n.createElement('script');c.src='//cd.connatix.com/connatix.player.js?cid=a1b625fb-cd44-410e-9479-699e835fd645',c.setAttribute('async','1'),c.setAttribute('type','text/javascript'),n.body.appendChild(c)},n.head.appendChild(t)}}(document); (new Image()).src = 'https://capi.connatix.com/tr/si?token=1cad57d1-aae3-42ce-aa46-cb49bb02d99a&cid=a1b625fb-cd44-410e-9479-699e835fd645';cnx.cmd.push(function() { cnx({ playerId: "1cad57d1-aae3-42ce-aa46-cb49bb02d99a" }).render("0f952e209d6147a793d43f13d9e1cfa2"); });

But it won't be your average Z9 that makes it off-planet. As one might expect, the Z9 will be heavily modified to handle both the rigors of space travel and life on the moon.

Nikon and NASA are redesigning circuitry to prevent cosmic radiation from damaging the camera, and a new grip is being added with special buttons for common controls so astronauts can operate it while wearing gloves. Custom firmware will modify noise reduction, HDR features, menus, file numbering, and more. Several Nikkor Z lenses will also be modified to cope with the surface of the moon.

The end result is a device that NASA calls the HULC (Handheld Universal Lunar Camera). As NASA notes, it's a huge leap forward from when Apollo astronauts used viewfinderless large-format film cameras that were attached to their spacesuits at chest level.

NASA astronauts Zena Cardman and Drew Feustel practice using an early design of the Handheld Universal Lunar Camera during the Joint Extravehicular Activity and Human Surface Mobility Test Team (JETT) Field Test 3 in Arizona.

NASA / Bill Stafford

The Z9 will head to space aboard the enormous Space Launch System rocket, which will deploy the Orion spacecraft that will make the trip to the moon and back. The capsule will join the SpaceX-designed Starship, which will perform the moon landing. Six-and-a-half days later, Starship will return to space to meet Orion for the journey back to Earth, where it will splash down in the Pacific Ocean.

More details about the Nikon Z9's trip to space can be found below. Those interested in the mission can visit NASA's Artemis III website.

MIRRORLESS GOES TO THE MOON: NIKON ENTERS INTO SPACE ACT AGREEMENT WITH NASA FOR ARTEMIS MISSION SUPPORT WITH THE NIKON Z 9 CAMERA Nikon and NASA Collaborating on Handheld Camera Development

MELVILLE, NY (February 29, 2024) – Nikon Inc. has entered into a Space Act agreement with the National Aeronautics and Space Administration (NASA) to support the agency’s Artemis campaign with the Handheld Universal Lunar Camera (HULC) development. The Nikon Z 9, Nikon’s mirrorless full-frame flagship, as implemented in the HULC system, will be the handheld camera for the upcoming Artemis III mission which will be used by the crew returning to the surface of the Moon.

The Artemis campaign is an ambitious and important undertaking for humanity. Artemis will return us to the Moon in order to establish a foundation for long-term scientific lunar research and exploration, eventually leading as a passageway for travel to Mars. Since humankind’s first forays into space, handheld cameras have been used to document the journey, sending back iconic imagery and for research. This Space Act Agreement is a collaboration between NASA and Nikon Inc. to ensure the current state-of-the-art full-frame camera can survive lunar environments while developing an efficient and optimal platform for image and video capture for the mission.

“The opportunity to collaborate with NASA on this endeavor is simply exhilarating yet humbling, as we realize the benefits of this mission have the potential to affect all of mankind in the future,” said Naoki Onozato, President and CEO, Nikon Inc. “As one of the many suppliers and manufacturers collaborating with NASA as part of the Space Act, our aim is to best equip the crew as they bravely bring humanity back to the surface of the Moon, and possibly beyond.”

The Artemis III mission is scheduled to launch NASA’s SLS (Space Launch System) rocket with the agency’s Orion spacecraft in September 2026. The crew’s historic expedition will be the first human landing on the lunar surface since 1972, and this mission will also mark the first time a woman will walk on the Moon. During this 30-day mission, the crew will enter lunar orbit, after which two astronauts will land on the lunar surface in the lunar module (SpaceX’s Starship Human Landing System). After spending approximately seven days on the lunar surface conducting research and multiple Moonwalks, they will return to the Orion spacecraft to join the other two crew members and return to Earth. To help capture imagery, the mission has the need for a common camera platform to reduce overall mass and development efforts while simplifying training and increasing efficiency.

About the Modified Cameras

The Moon surface and lunar environment is a harsh and unforgiving vacuum, which poses multiple technological and engineering challenges. The surface is subject to massive temperature swings, with constant bombardment of cosmic radiation that can damage electrical components. Nikon’s engineers are working closely with NASA to develop solutions to maximize reliability when operating under this kind of extreme environment, including the redesign of various circuits and control sequences within the camera to withstand the vast amounts of radiation. Support will also be given for thermal vacuum testing, running various tests and simulations to help ensure that the camera maintains operational status when 238,000 miles away from Earth.

Additionally, the camera will need to be used by astronauts during extravehicular activities (EVAs), which are instances when the crew will be in space or on Moonwalks. In order for astronauts to comfortably and easily use the Z 9 when wearing the thick gloves of a spacesuit, a custom grip is being developed by NASA, which includes common controls such as a shutter release, playback, still/video capture switching and more. This grip will connect to the camera via the 10-pin terminal, which will be usable with specialized custom firmware created for the cameras. To protect the camera, lens and housing during EVA, a special “thermal blanket” will be created by NASA, which is similar to those currently used during exterior spacewalks by International Space Station astronauts. A selection of NIKKOR Z lenses will also be used for the mission, and those that will be actively used on the Moon will be modified to withstand the harsh lunar environment.

Like the cameras used by the Space Station crew, the firmware will also be specially modified for this mission. These modifications include accounting for the different circuitry, expanding noise reduction to lower shutter speeds to account for the effects of constant bombardment of cosmic radiation that the crew and gear encounter. Additional changes have been made to the file naming sequence, as well as default settings and controls that are optimized for exterior missions. Changes have also been made to the in-camera communication control to simplify the astronaut’s workflow. Additional modifications include shutter shield optimization, enhanced HDR functionality and modified default settings for menu items.

Chronicling History Together

Nikon cameras have been used by NASA and space agencies extensively, most recently with the arrival of unmodified Z 9 camera to the crew of the International Space Station. Since the Apollo 15 mission more than 50 years ago, Nikon cameras and lenses have been used by NASA for space exploration. Starting in 1999, Nikon cameras (Nikon F5) and NIKKOR lenses have been used aboard the ISS to aid in scientific research, maintenance and aiding astronauts capturing iconic images of the Earth, the heavens and beyond.

For more information about the NASA Space Act agreement, and a list of the current Space Act agreements, please visit the website here.

For more information the Z 9, Nikon’s full-frame mirrorless flagship, please visit Nikonusa.com/z9.

Photo: Richard Butler

An extra long February is drawing to a close and brought us a wealth of new cameras and lenses during CP+ 2024. Here's a list of the biggest releases and announcements of the year so far, updated for February 2024!

February 2024 Fujifilm X100VI Image: Richard Butler

Arguably one of the most hyped-up cameras of the year, the Fujifilm X100VI was announced and made available for preorder this February. It is shipping now, but already backordered at some retailers.

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Read our X100VI initial review

Buy now:

$1,599 at Amazon $1,599 at B&H Photo $1,599 at Adorama Sony a9 III Photo: Richard Butler

Sony's latest high-speed pro sports camera and herald of the 'global' shutter, the a9 III, was announced in 2023 but began shipping on February 8th.

Read our Sony a9 III initial review

Buy now:

$5998 at Amazon $5998 at B&H $5998 at Adorama OM System OM-1 Mark II Photo: Shaminder Dulai

The OM System OM-1 Mark II is a high-speed Micro Four Thirds camera based around a 20MP Stacked CMOS sensor. As the name implies, it's an updated version of the flagship OM-1, with hardware and firmware improvements. Announced and available for preorder in January 2024, it started shipping in February.

Read our OM System OM-1 Mark II initial review

Buy now:

$2,400 at B&H Photo $2,400 at Adorama OM System 150-600mm F5.0-6.3 IS Image: OM System

Alongside its new flagship, OM System announced a 150-600mm F5.0-6.3 super telephoto zoom (equivalent focal length range of 300-1200mm) as well as a new version of the Olympus 9-18mm F4.0-5.6 (18-36mm equivalent) with an updated body and OM System branding in January. Both are now shipping as of February 2024.

Learn more

Buy now:

$2,700 at B&H Photo $2,700 at Adorama Sony 24-50mm F2.8 G Image: Sony

Sony's 24-50mm F2.8 G fast, compact walk-around lens was announced this February during CP+ but is not slated to ship until May of this year.

Learn more

Preorder:

$1,098 at Amazon $1,098 at B&H Photo $1,098 at Adorama Fujifilm X100VI: Limited Edition Photo: Richard Butler

While the Fujifilm X100VI itself is easy to pre-order, there is also a limited edition with Fujifilm's founding logo from 1934 that will be a bit harder to find and a bit more expensive. Ask at your local dealer for the chance to pay a $400 premium for this limited run.

Learn more

Sigma 15mm F1.4 DG DN "Art" diagonal fisheye Image: Sigma

Sigma's 15mm F1.4 DG DN "Art" diagonal fisheye is shooting to be an astrophotography workhorse with a 180-degree field-of-view, manual focus lock button, lens heater support and a weather-sealed body. It's available for preorder today, with an estimated ship date of mid-March.

Learn more

Preorder:

$1999 at B&H Photo $1999 at Adorama Sigma 500mm F5.6 DG DN OS Sports Image: Sigma

Sigma's 500mm F5.6 DG DN OS "Sports" lens is lighter and a fraction shorter than the similar Nikkor lens for DSLR, despite not using the same phase-fresnel technology Nikon does. It's available for preorder now in E-mount and L-mount favors, with a ship date in mid-March 2024.

Learn more

Preorder:

$2,999 at Amazon $2,999 at B&H $2,999 at Adorama Panasonic Lumix S 28-200mm F4-7.1 macro travel zoom Image: Panasonic

Launched during CP+, Panasonic's Lumix S 28-200mm F4-7.1 Macro OIS for L-mount is, according to the company, is the smallest and lightest long zoom lens for mirrorless systems (where 'long zoom' is defined as 7x or greater zoom range). It's available for preorder now, and set to ship at the end of April.

Learn more

Preorder:

$900 at Amazon $898 at B&H Photo $898 at Adorama Venus Optics Laowa 10mm F2.8 Zero-D FF Image: Venus Optics

The Venus Optics' Laowa Zero-D FF is, according to its makers, the world's widest F2.8 full-frame rectilinear lens. It's also the first lens with autofocus in the company's Laowa line. Available for preorder now, it will ship next month for $799.

Learn more

Preorder:

$799 at B&H Photo $799 at Adorama Sony PDT-FP1 5G transmitter Image: Sony

Sony's PDT-FP1 5G transmitter accessory, which was already announced in Japan, is now coming to the United States and other markets. It can be preordered now and has a shipping window of "early summer" 2024.

Learn more

Preorder:

$1,100 at Sony Apple Vision Pro Image: Apple

Announced in 2023, Apple Vision Pro got a February 2nd shipping date during CES 2024. It's now available to order on Apple's website for $3,499. Apple Vision Pro is not primarily a camera, of course, but it is, in part, a device for capturing photos and videos. The Vision Pro will be able to capture spatial photos and video using a button along the top edge of the goggle part of the device.

Learn more

Buy now:

$3,499 at Apple January 2024 Hasselblad CFV 100C Image: Hasselblad

Hasselblad has announced a 100MP version of its CFV digital camera back, which combines with the 907x camera to create the smallest medium format camera on the market. It's available for pre-order now and expected to ship in late March to early April.

Learn more

Preorder:

$8,199 at B&H Photo $8,199 at Adorama Panasonic Lumix S 100mm F2.8 macro Image: Panasonic

In conjunction with CES 2024, Panasonic has announced the Lumix S 100mm F2.8 Macro lens for full-frame L-mount cameras. Panasonic calls it "the world’s smallest and lightest medium-telephoto fixed focal length macro lens." However, as important as its size and weight is versatility: Panasonic tells us its goal was to produce a macro that can also handle portraiture and medium telephoto shooting with vanishingly few drawbacks. It was announced and shipped in January 2024.

Learn more

Buy now:

$998 at Amazon $998 at B&H Photo $998 at Adorama DJI Mic 2 Image: DJI

This January, DJI announced the Mic 2, the sequel to its first wireless microphone system released back in 2022. We were fans of the original, especially the details of its interface and user experience, and the Mic 2 expands on that with some additional creature comforts, 32-bit float backup recordings and a new transparent design. It was available for purchase at its announcement in January.

Learn more

Buy now:

$349 at Amazon $349 at DJI $349 at B&H Photo

Sony World Photography Awards finalists

The World Photography Organisation has announced the professional category finalists and shortlisted photographers for the Sony World Photography Awards 2024.

This year over 395,000 images from more than 220 countries and territories were submitted to professional categories, a new record for the 17-year-old competition.

Organizers have whittled those entries down to three finalists and an assortment of shortlisted images in each of 10 categories: Architecture & Design, Creative, Documentary Projects, Environment, Landscape, Portfolio, Portraiture, Sport, Still Life and Wildlife & Nature.

The Sony World Photography Awards have multiple divisions for awards. This year's student and youth shortlist was announced in January. The open competition, which recognizes single images (the professional division is for a series of photographs), is set to announce that category's finalists and shortlist in March.

Eagle-eyed readers may recall the awards ran into some controversy last year when first place in the creative open category was awarded to an AI-generated image. Its creator, German artist Boris Eldagsen, disclosed that fact when he refused his prize.

Once all division finalists have been announced, the final winners for each category will be selected on April 19, 2024. An overall winner for Photographer of the Year 2024 will also be chosen from the professional finalists and be awarded $25,000, Sony equipment and a solo showing of their work as part of next year’s awards exhibition.

The following day a selection of winning and shortlisted works will be part of a traveling exhibition that kicks off in London on April 19, 2024.

"The jury was captivated by the passionate storytelling; capturing both the joys and the challenges of human existence across our planet," Chair of the Jury Monica Allende said regarding the professional entries.

We've gathered the finalists in each category; take a look.

Siobhán Doran, Ireland, Architecture & Design, finalist

Gaston Ancestral House, Philippines. From the series "Sala Mayor (Living Room)."

Artist statement: This series is part of a book project, "Houses that Sugar Built: An Intimate Portrait of Philippine Ancestral Homes," for which I was granted access to these historic mansions. I largely set about photographing the houses against a spoken ‘backdrop’, as my colleague interviewed the owner or custodian, but sometimes worked in complete silence. The sala mayor (main living room) typically showcases the character of the architecture and the lifestyle of the people, but also leaves room for the viewer’s interpretation of these unique residences.

Yaser Mohamad Khani, Islamic Republic of Iran, Architecture & Design, finalist

Untitled. From the series "Tehran Campus Town."

Artist statement: In recent years, due to population growth and lack of sufficient housing, the towns near Tehran have been crowded and people have to migrate here.

Karol Pałka, Poland, Architecture & Design, finalist

A spa of national importance in Slovakia. From the series "Spa Island."

Artist statement: Although it is small in size, the country of Slovakia is rich in springs of natural healing water. Spa culture has been a part of the Slovakian lifestyle for hundreds of years, and has become part of a secular ritual for some. In 1947 a special balneological congress decided to divide the approximately 50 Slovak spa localities into three categories of importance: international importance, national importance and local importance. This project examines the ways in which the architecture of spas allows those establishments to be spaces of ritual and community.

Mackenzie Calle, United States, Creative, finalist

The gravesite of Franklin Kameny at the Congressional Cemetery in Washington D.C. Kameny was an astronomer in the U.S. Army who hoped to one day go into space. He was also one of thousands of homosexual federal employees fired under the Lavender Scare in the mid-twentieth century. From the series "The Gay Space Agency."

Artist statement: From the late 1950s, astronauts on NASA’s Mercury, Gemini and Apollo programs were required to take two heterosexuality tests, and in 1994, NASA asked ‘to include homosexuality as a psychiatrically disqualifying condition’ for astronauts. The psychiatric team protested, but NASA insisted. A 2022 study found that LGBTQ+ astronauts felt that being out may ‘hurt their chances of getting a [Space Shuttle] flight’ and, to date, NASA has never selected or flown an openly LGBTQ+ astronaut. The Gay Space Agency confronts the exclusion of openly queer astronauts. The series offers a queer counter-narrative to the history that has prevented the LGBTQ+ community from flying and imagines a more accepting future. To bridge the diversity gap and work towards a more inclusive future, this project envisions queer people in space. By traversing its edges, we can imagine a world that is not limited by anti-LGBTQ+ sentiments. The Gay Space Agency asks what it truly means to have the ‘right stuff’.

Tine Poppe, Norway, Creative, finalist

Gerbera jamesonii. From the series "Gilded Lilies: Portraits of Cut Flowers."

Artist statement: Born and bred in industrial scale greenhouses, cut flowers have no contact with nature and generate high CO2 emissions. The Western world’s supply of cut flowers used to be derived from local greenhouses, but most of the flowers we buy in our stores today have been transported by planes or lorries from digitally run greenhouses around the world; Colombia, Ecuador and equatorial East Africa are currently the largest producers of cut flowers on the planet. The greenhouses contribute to high water use and chemical runoff, while the flowers can generate significant carbon emissions through their refrigeration and long-haul transportation – stems may be transported up to 9,600 km (6,000 miles) in refrigerated aeroplane holds. These cut flowers were bought at a local flower shop and photographed in front of prints of landscapes in my studio.

Sujata Setia, United Kingdom, Creative, finalist

मिट्टी के दायरे (Circles in Sand). My mother’s womb. It’s from there that I started witnessing the violence. I remember the sound the cement floor made when she was dragged by her hair across it. I was three. I have grown up learning that to be the only sound of music. From the series "A Thousand Cuts."

Artist statement: Derived from the ancient Asian form of torture of lingchi (known as ‘death by a thousand cuts’), A Thousand Cuts is an ongoing series of portraits and stories that present a photographic study of patterns of domestic abuse in the South Asian community. I have borrowed the metaphorical meaning of lingchi to showcase the cyclical nature of domestic abuse. The continuous act of chipping at the soul of the abused is expressed by making cuts on the portrait of the participant, while the prints are made on thin paper to depict the fragility of the subject’s existence. The final artwork is photographed in a tight crop to create a sense of suffocation and absence of room for movement.

Davide Monteleone, Italy, Documentary Projects, finalist

Shabara, Kolwezi, Democratic Republic of Congo is one of the largest artisanal copper and cobalt mines in the region. Around 20,000 people work at the site, in shifts of 10,000 at a time. From the series "Critical Minerals - Geography of Energy."

Artist statement: Critical Minerals – Geography of Energy aims to investigate the exponential demand for the minerals necessary to achieve renewable energy goals. In the Democratic Republic of Congo I documented the condition and impact of cobalt mining, which is essential for the green energy transition. The environmental and human conditions of cobalt mining have been widely reported, and the mainstream narrative faithfully describes the devastating working conditions and problematic health, environmental and economic conditions that men, women and children are subjected to, directly or indirectly. This series underlines that the future of critical minerals lies not just in the depths of the earth, but in our collective commitment to creating a sustainable and equitable world. By weaving these threads into a compelling narrative, this project engages audiences in a broader conversation about the choices we make today and their profound implications for the sustainability of our planet.

Juliette Pavy, France, Documentary Projects, finalist

An archive photograph of Jytte Lyberth at the age of 14, when she had her IUD inserted. After a school medical check-up she went to hospital and was asked to take off her clothes. She was never told what was going to happen. A few months later she experienced severe pain from the coil and returned to hospital to have it removed. Since then, she has never been able to have children. From the series "Spiralkampagnen: Forced Contraception and Unintended Sterilisation of Greenlandic Women."

Artist statement: Between 1966 and 1975, Greenlandic Inuit women were the victims of an involuntary birth control programme known as the Spiralkampagnen (spiral campaign). Led by the Danish authorities, nearly 4,500 intrauterine devices (‘coils’) were implanted into Inuit women and girls, some as young as 12, many of whom say that the procedure was performed without their consent. This campaign was first revealed by a Danish podcast in spring 2022, and documents now prove that the authorities implemented the policy to reduce Inuit population growth. An official investigation has now been opened, which is set to conclude at the end of 2024.

Brent Stirton, South Africa, Documentary Projects, finalist

Lady Tina and Pretty Peter were previously jailed in Uganda for their trans lifestyle and experienced sexual assault. From the series "LGBTQIA Refugees: Fleeing Uganda."

Artist statement: In May 2023, Uganda criminalized same-sex conduct for those convicted of ‘aggravated homosexuality’, even though the Anti-Homosexuality Act of 2023 violates some of the fundamental rights guaranteed under Uganda’s constitution. Uganda’s penal code already punishes same-sex conduct with life imprisonment, but the new law legislates on new crimes, such as the ‘promotion of homosexuality’; introduces the death penalty for several acts considered as ‘aggravated homosexuality’; and increases sentences for attempted same-sex conduct to 10 years. Anyone advocating for the rights of LGBT people now faces up to 20 years’ imprisonment. Many LGBTQIA people have been forced to flee the country, and are now in fragile safe houses in Kenya. I felt compelled to work on this, as these laws are a violation of human rights and an assault on democracy: people in the LGBTQIA community are entitled to the same consensual rights as all humans when it comes to love and intimacy.

Jean-Marc Caimi and Valentina Piccinni, Italy, Environment, finalist

Climate change is prompting Sicilian farmers to give up their land to host photovoltaic and agrovoltaic systems, potentially threatening food sovereignty. Elena Giorgianni, a naturopath and farmer, is resisting the trend by growing tropical fruits organically in the hills around Messina. Taking advantage of the new weather conditions and the demand for high-quality Italian tropical fruits, she is pioneering an approach that balances environmental sustainability with consumer preferences. From the series "Tropicalia."

Artists statement: Sicily was once Europe’s main wheat producer, but it now faces the challenges of being a climate frontier, dealing with issues such as rising temperatures, desertification, unpredictable rainfall patterns and flash floods. As a pioneer in Europe’s response to tropicalisation, Sicily serves as an example of the scenario that awaits the whole continent. This series consists of a series of human, scientific and agricultural stories that explore the emerging realities amidst ongoing climate change. It highlights the efforts of local universities to drive agricultural innovation, test weather-resistant organic crops and introduce new fertilizers tailored to desertified land. The story also follows the burgeoning weather-sensitive tropical fruit industry in Sicily, where farmers are transforming their crops into extensive mango, avocado and papaya plantations to turn the weather challenge into a new opportunity.

Mahé Elipe, France, Environment, finalist

For 12 years, the indigenous association led by Leocadia Utiz has been organizing a native corn seed fair. Farmers from participating communities are invited to exchange native seeds and forgotten indigenous knowledge. According to Mayan belief, Leocadia claims to be descended from corn. Together with her family, she ensures the protection of the forest by cultivating milpa. From the series "Echoes of the Hive."

Artist statement: The Melipona bee is a rare species that doesn’t have a sting. It is seen as sacred by the Maya people, and its honey is said to have miraculous properties. It also embodies the resistance of indigenous communities in the region of Los Chenes, nestled in southeast Mexico, against the ravages of agro-industry. In March 2023 and more recently at the end of January 2024, a tragic fate befell more than one hundred beekeepers: their Melipona bees were poisoned by fipronil, an insecticide that is banned in most countries, but is still permitted in Mexico. This tragedy left deep scars on the Mayas, whose survival is intertwined with the golden nectar of the Melipona. Like an unrelenting tide, intensive agriculture is swallowing the Yucatan Peninsula, pushing back millennia-old jungles and threatening ancient practices. These images reflect the unshakeable determination of the Mayans, through individual and collective resistance, to leave behind an untarnished legacy for future generations.

Maurizio Di Pietro, Italy, Environment, finalist

Professor Laura Gasco evaluates the effects of including Hermetia illucens flours in the diet of rainbow trout. The European Commission has allowed insect meals to be used in feed in aquaculture since 1 July 2017, having equated this protein source to that of poultry and pigs. From the series "Zero Hunger."

Artist statement: The aim of the United Nations’ Sustainable Development Goal 2 is to create a world that is free of hunger by 2030 and focus on finding sustainable solutions to stop world hunger. Currently, the natural resources necessary for human survival are depleting due to climate change. Extreme weather, such as droughts and floods, have become more common and affect harvests, leading to less food for human consumption. However, breeding and eating insects is a sustainable practice that can help us reach our goal. Insects are rich in proteins and highly sustainable, with minimal environmental impact in terms of greenhouse gas emissions and water and soil consumption. As a result, researchers are studying the most sustainable and cost-effective ways to promote the use of insects as a food source for both people and animals.

Jim Fenwick, United Kingdom, Landscape, finalist

Trees standing against the backdrop of a night sky in Palermo, illuminated by the red glow from the wildfires. From the series "Wildfires of Palermo."

Artist statement: In September 2023 I arrived in Palermo, in the midst of a gripping environmental problem that was unfolding across Sicily. The canvas of the night sky had been transformed into a captivating tableau as the flames from ongoing wildfires painted a surreal and enchanting spectacle. The ethereal glow was a juxtaposition of beauty and devastation.

Eddo Hartmann, Netherlands, Landscape, finalist

An infrared image of the remains of an observation tower at Opytnoe Pole. This was the first testing ground at the Semipalatinsk Test Site, which was a large-scale facility used between 1949 and 1962 for atmospheric nuclear tests. From the series "The Sacrifice Zone."

Artist statement: This series explores a remote area of Kazakhstan known as ‘The Polygon’, which was once home to the Soviet Union’s major nuclear testing facilities. Between 1949 and 1989 more than 450 nuclear tests took place here, with little regard for their effect on the local people and environment. The full impact of radiation exposure was hidden for many years by the Soviet authorities and only became clear after the test site was closed in the early 1990s. The location is still heavily contaminated and can only be accessed in protective clothing. The images in this series were made using an infrared camera, which hints at a menace that is equally invisible to the human eye: the radiation resulting from the nuclear explosions. Plants that have absorbed radiation acquire a strange reddish-purple colour, which is how their toxicity – invisible to the naked eye – is revealed.

Fan Li, China, Landscape, finalist

An Atypical Chinese Landscape. From the series "An Atypical Chinese Landscape"

Artist statement: These scenes and objects–the result of human production and labor processes serving human survival and life–are now left on the earth and have become the landscape. Some of these landscapes have become construction waste, destroying the living environment and becoming permanent scars.

Aly Hazzaa, Egypt, Portfolio, finalist

Just as the traffic stalled in a street in Old Cairo, the reflection of a person appeared on a car window. I only had one chance to take this photograph before the cars started to move again. From the series "Quest for Coherence"

Artist statement: As a freelance photographer I try to be ready for my next assignment, keeping my eyes open and my reflexes fast. Nothing is better for this than practicing street photography. My routine is to walk along the streets of Cairo, documenting life as it unfolds around me, without any specific goal. My aim is to create a cohesive body of work from my explorations on the street, and I am particularly drawn to the interplay of colors, shapes and reflections. My fascination with people and the streets fuels my work.

Angelika Kollin, Estonia, Portfolio, finalist

Ongeziwe. This portrait was taken in Cape Town, South Africa. From the series "Parenthood."

Artist statement: The nucleus of one’s existence is rooted in family; each person inherently has parents. In our contemporary society, the concept of family has evolved and now integrates and embraces both traditional and new forms. No longer confined to a mere group of individuals sharing blood ties, I believe that family is increasingly becoming a feeling rather than a particular manifestation of form. My photographic exploration examines the myriad forms that a modern-day family can take, uniting them under common and universally sought human emotions: a sense of belonging, love and emotional intimacy.

Jorge Mónaco, Argentina, Portfolio, finalist

A portrait of an old Kazakh man in traditional dress. Due to globalization, young Kazakh people no longer wear these clothes. From the series "Portraits and Landscapes."

Artist statement: These images are part of various personal projects, some of which detach from the main body and function as independent pieces. My focus is on sincerity and authenticity, inviting the viewer to delve into the intimate stories of the protagonists. Additionally, some of my projects take place outdoors, providing sociological contexts that enrich the visual narrative. My goal is to create projects that shed light on the lives of people from minority groups, whether they are ethnic, religious or gender-related. Through my images, I aim to raise awareness and promote inclusion, offering a reflective perspective on human diversity. Within this collection are works belonging to an ongoing project that explores the ‘intermediate landscape’; environments situated between the urban and the natural, usually located on the outskirts of cities. These strips of territory typically appear ambiguous or undefined.

Drew Gardner, United Kingdom, Portraiture, finalist

A recreation of an original photograph of Harriet Tubman with her great-niece, Deanne Stanford Walz. Her costume was recreated specially for the photoshoot. From the series "Descendants of Black American Civil War Combatants."

Artist statement: This series recreates photographs of black American Civil War combatants with their descendants. The project was three years in the making, following comprehensive searches of archives for photographs of black American Civil War soldiers, where the identity of the person in the photograph could be verified. Working with genealogists from Wikitree’s U.S. Black Heritage Project, we traced the descendants of the Civil War combatants and brought them together from all over the United States to be photographed using a period 5x7-inch tintype process in an authentic daylight studio. The sitters had to stay perfectly still, which often meant using a neck brace for exposures of up to 40 seconds. The sitters wore custom, handmade costumes and sets were built especially; some of the props used were authentic Civil War items.

Valery Poshtarov, Bulgaria, Portraiture, finalist

Blagoevgrad, Bulgaria, 2023. From the series "Father and Son."

Artist statement: In a world that is already growing apart, holding hands becomes a silent prayer – a way to come together again. While posing, fathers and sons hold hands for the first time in years, sometimes decades. It’s a powerful moment, often filled with hesitation or even resistance. This act of intimacy became the project’s main purpose, the photographs being just a mere testament to the long-unspoken love between the men. Spanning cultures, reaching corners of Bulgaria, Georgia, Turkey, Armenia, Serbia and Greece, this project has become a beacon of emotional expression and cultural preservation. It serves as a global stage, encouraging fathers and sons from around the world to join the act. By leaving the narratives behind, these portraits become open to interpretation and I invite viewers to add their own layers of meaning, making us all contributors to this evolving story of humanity.

Adali Schell, United States, Portraiture, finalist

Lily Abbitt, 19, and Zane Burrows, 20, embrace on the side of the road in Topanga Canyon, California. From the series "The First Car."

Artist statement: Growing up in Los Angeles, some of my earliest memories were made in the car. Specifically, my dad’s vintage 1980s Mercedes – which he converted to run on vegetable oil – acted as my respite. The hum of the engine, the tears in the leather interior and the sound of his burned CD’s accompanied my earliest understanding of L.A. I remember the sense of privacy that the car provided me, and how it enabled my looking. In 2022, I was commissioned by The New York Times to photograph my friends in their first cars. Having spent my final teenage years in isolation due to the pandemic, the car provided me with a space to come back into touch with my community and with L.A. The article, entitled Magic of Your First Car, was published in February 2023, and exhibited internationally at Les Rencontres d’Arles and the Museum of Warsaw in July 2023.

Angelika Jakob, Germany, Sport, finalist

Winner Josef Utzschneider, light-heavyweight champion of the German finger wrestling championship. From the series "Finger Wrestling in Bavaria."

Artist statement: Finger wrestling is an honest sport for real powerhouses. The rules are simple and there is hardly any trickery involved, as speed, good fingers and concentration are all that’s required. Everything is clear and simple: the strongest wins, and the best pulls everyone over the table...

Thomas Meurot, France, Sport, finalist

When you’re looking for surf in Iceland you take anything you can, big or small. Here, Samuel Redon enjoys the small surf. From the series "Kald Sòl (Cold Sun)"

Artist statement: Kald Sòl is a series I undertook while documenting a surf expedition in Iceland in the middle of winter, which resulted in my first documentary, with the same name. Documenting cold surfing has always appealed to me, so when I got the chance to do it, I jumped at the opportunity straight away. The black- and-white photographs reveal the cold, even when the sun is out.

Tommaso Pardini, Italy, Sport, finalist

Isma shows off his potential to the surfers in the line-up. From the series "Surf in Dakar."

Artist statement: The Senegalese surf scene is growing fast and I’ve been there to document the life of Ismaila Samb, a young, promising surfer who is aspiring to become a professional. The surfers here don’t have the best equipment, but though they surf with old surfboards and wetsuits, their passion is above everything. My mission was to help Isma gain visibility and international recognition. After my visit he travelled outside Africa for the first time and joined the Senegalese national team taking part in the World Surfing Games in El Salvador.

Peter Franck, Germany, Still life, finalist

Silent give and take. From the series "Still Like Art"

Artist statement: Everything in the pictures is arranged, down to the smallest detail. This meticulous arrangement stands in the highest possible contrast, here in black and white, to the infinite possibilities of association by the viewer. The sovereignty of interpretation is as individual as the society out of which these works are created. The photographs explore the elemental and expansive qualities of the medium, picturing a world aglow, one that feels known but is rarely seen. Photography’s past restrictions meet the unlimited possibility of its present and in constructing his photographic world he proves its existence.

Beth Galton, United States, Still life, finalist

London Plane Tree. Created in the artist's studio using daylight, this series consists of cast-off bark with manipulated printed self-portraits. From the series "London Plane Tree."

Artist statement: Our lives are built up, layer by layer around our core selves. Belief systems, memories and opinions define who we are. But underneath these layers, what remains? As an artist and a person finding themselves in the later part of life, it has become essential for me to reevaluate and prioritize how I move through the world. Peeling back layers and looking for that original sense of self has become important. Walking to my studio, I pass a line of London Plane trees, and have noticed that they shed their bark. The tree is growing rapidly, and the bark is unable to expand as quickly as the tree enlarges. This fascinating process resonates with me. How do I shed preconceived constructs to make room for growth? How does this practice expose my vulnerabilities? To answer these questions, I created this photographic series, which consists of cast-off bark with manipulated self-portraits, connecting my exploration with nature.

Federico Scarchilli, Italy, Still life, finalist

Angelica has been used in traditional medicine to treat multiple health conditions. It is thought to contain various bioactive ingredients that may have antioxidant, antimicrobial and anti-inflammatory properties. Researchers have also studied Angelica’s potential anticancer effects in a lab, testing Angelica archangelica extract on breast cancer cells. They found that Angelica may help cause breast cancer cell death, leading researchers to conclude that the herb may have antitumor potential. From the series "Flora."

Artist statement: Plants are among the main suppliers of medicinal substances and should be considered as the producers and dynamic containers of chemical substances. In their evolution they have developed innumerable secondary metabolites that perform various ecological functions for the plant, such as repellence, defence from herbivores, fighting against other plant species for resource control, defence from parasites and attraction to pollinators. These secondary metabolites have also shown important pharmacological activities in humans, which constitute the active ingredients or the main components on which the curative action of a drug depends; in fact, 40 percent of monomolecular drugs derive from plant species. This series highlights the important role of pharmacognosy in modern biology.

Eva Berler, Greece, Wildlife and Nature, finalist

The artist describes the worlds hidden in spider webs as a metaphor for our private inner selves, of our deepest fears and aspirations. From the series "Suspended worlds."

Artist statement: This project started as an exploration of the world of spider webs, where both time and action are frozen, but it led to a personal journey into my deepest fears and aspirations. As I focused on what was hidden in the webs I became fascinated by the artful random creations that I found; the impermanent worlds that we don’t usually notice. I realized that these worlds resonate with me on a deeper level. They work as metaphors for the hidden lives of the people next to us, who we pass by every day and don’t really know anything about. We all have our private lives that we prefer to keep to ourselves; our personal mystic treasures, our inner selves. These are the innermost places where we can be whatever we choose to be.

Jasper Doest, Netherlands, Wildlife and Nature, finalist

Elephants charge through Livingstone’s narrow streets, their towering figures trumpeting into the night. Altered habitats mean they emerge from the national park at dusk to seek food within Livingstone. A nighttime curfew, urging the community to stay indoors, aims to reduce human-wildlife conflict. From the series "In the Footsteps of Giants."

Artist statement: The delicate equilibrium between humans and elephants in rural parts of Zambia is being disturbed as both populations vie for limited resources. The expansion of settlements and unsustainable agriculture is encroaching on elephant habitats, jeopardizing the well-being of both human livelihoods and the elephant population. The question arises: can humans and elephants coexist? These problems have been escalating in the past decade, and with the expectation of increased droughts due to our warming climate, establishing transfrontier wildlife corridors becomes essential. However, the establishment of these corridors faces challenges posed by settlements, agriculture and infrastructure, which results in daily human-wildlife conflict. As these persistent issues continue it is increasingly evident that the local community plays a vital role in fostering a harmonious coexistence between humans and elephants. Developing economically and socially viable models for coexistence within the local community will be crucial for the long-term survival of both elephants and humans.

Haider Khan, India, Wildlife and Nature, finalist

Rhinos with injured horns suffer from pain, infections and a reduced ability to defend themselves. As poaching and habitat loss continue to threaten their survival, rhino conservation efforts attempt to stop them from being killed. From the series "King Without a Throne: Poached or Dehorned."

Artist statement: The persistent human desire for rhino horn – for everything from traditional medicines to hangover cures or status symbols – drives the slaughter of more than 1,000 of these majestic animals each year in South Africa. To protect them from poachers, some rhinos are now deliberately dehorned, something that is considered a necessary evil by anti-poaching campaigners in Africa. However, while cutting off a rhino’s horn prevents poaching, it also changes their behavior and affects their ability to interact or establish territory. Either way, they are the ones that suffer. With this series I want to share the painful story of two rhinos, one living in Munich, Germany, and the other in Kolkata, India. Despite being separated by thousands of miles, these beautiful creatures have a shared past: both of them have been stripped of their once-proud horn, symbolizing the harm that humans can inflict upon wildlife.

Sony World Photography Awards finalists

The World Photography Organization has announced the professional category finalists and shortlisted photographers for the Sony World Photography Awards 2024.

This year over 395,000 images from more than 220 countries and territories were submitted to professional categories, a new record for the 17-year-old competition.

Organizers have whittled those entries down to three finalists and an assortment of shortlisted images in each of 10 categories: Architecture & Design, Creative, Documentary Projects, Environment, Landscape, Portfolio, Portraiture, Sport, Still Life and Wildlife & Nature.

The Sony World Photography Awards have multiple divisions for awards. This year's student and youth shortlist was announced in January. The open competition, which recognizes single images (the professional division is for a series of photographs), is set to announce that category's finalists and shortlist in March.

Eagle-eyed readers may recall the awards ran into some controversy last year when first place in the creative open category was awarded to an AI-generated image. Its creator, German artist Boris Eldagsen, disclosed that fact when he refused his prize.

Once all division finalists have been announced, the final winners for each category will be selected on April 19, 2024. An overall winner for Photographer of the Year 2024 will also be chosen from the professional finalists and be awarded $25,000, Sony equipment and a solo showing of their work as part of next year’s awards exhibition.

The following day a selection of winning and shortlisted works will be part of a traveling exhibition that kicks off in London on April 19, 2024.

"The jury was captivated by the passionate storytelling; capturing both the joys and the challenges of human existence across our planet," Chair of the Jury Monica Allende said regarding the professional entries.

We've gathered the finalists in each category; take a look.

Siobhán Doran, Ireland, Architecture & Design, finalist

Gaston Ancestral House, Philippines. From the series "Sala Mayor (Living Room)."

Artist statement: This series is part of a book project, "Houses that Sugar Built: An Intimate Portrait of Philippine Ancestral Homes," for which I was granted access to these historic mansions. I largely set about photographing the houses against a spoken ‘backdrop’, as my colleague interviewed the owner or custodian, but sometimes worked in complete silence. The sala mayor (main living room) typically showcases the character of the architecture and the lifestyle of the people, but also leaves room for the viewer’s interpretation of these unique residences.

Yaser Mohamad Khani, Islamic Republic of Iran, Architecture & Design, finalist

Untitled. From the series "Tehran Campus Town."

Artist statement: In recent years, due to population growth and lack of sufficient housing, the towns near Tehran have been crowded and people have to migrate here.

Karol Pałka, Poland, Architecture & Design, finalist

A spa of national importance in Slovakia. From the series "Spa Island."

Artist statement: Although it is small in size, the country of Slovakia is rich in springs of natural healing water. Spa culture has been a part of the Slovakian lifestyle for hundreds of years, and has become part of a secular ritual for some. In 1947 a special balneological congress decided to divide the approximately 50 Slovak spa localities into three categories of importance: international importance, national importance and local importance. This project examines the ways in which the architecture of spas allows those establishments to be spaces of ritual and community.

Mackenzie Calle, United States, Creative, finalist

The gravesite of Franklin Kameny at the Congressional Cemetery in Washington D.C. Kameny was an astronomer in the U.S. Army who hoped to one day go into space. He was also one of thousands of homosexual federal employees fired under the Lavender Scare in the mid-twentieth century. From the series "The Gay Space Agency."

Artist statement: From the late 1950s, astronauts on NASA’s Mercury, Gemini and Apollo programs were required to take two heterosexuality tests, and in 1994, NASA asked ‘to include homosexuality as a psychiatrically disqualifying condition’ for astronauts. The psychiatric team protested, but NASA insisted. A 2022 study found that LGBTQ+ astronauts felt that being out may ‘hurt their chances of getting a [Space Shuttle] flight’ and, to date, NASA has never selected or flown an openly LGBTQ+ astronaut. The Gay Space Agency confronts the exclusion of openly queer astronauts. The series offers a queer counter-narrative to the history that has prevented the LGBTQ+ community from flying and imagines a more accepting future. To bridge the diversity gap and work towards a more inclusive future, this project envisions queer people in space. By traversing its edges, we can imagine a world that is not limited by anti-LGBTQ+ sentiments. The Gay Space Agency asks what it truly means to have the ‘right stuff’.

Tine Poppe, Norway, Creative, finalist

Gerbera jamesonii. From the series "Gilded Lilies: Portraits of Cut Flowers."

Artist statement: Born and bred in industrial scale greenhouses, cut flowers have no contact with nature and generate high CO2 emissions. The Western world’s supply of cut flowers used to be derived from local greenhouses, but most of the flowers we buy in our stores today have been transported by planes or lorries from digitally run greenhouses around the world; Colombia, Ecuador and equatorial East Africa are currently the largest producers of cut flowers on the planet. The greenhouses contribute to high water use and chemical runoff, while the flowers can generate significant carbon emissions through their refrigeration and long-haul transportation – stems may be transported up to 9,600 km (6,000 miles) in refrigerated aeroplane holds. These cut flowers were bought at a local flower shop and photographed in front of prints of landscapes in my studio.

Sujata Setia, United Kingdom, Creative, finalist

मिट्टी के दायरे (Circles in Sand). My mother’s womb. It’s from there that I started witnessing the violence. I remember the sound the cement floor made when she was dragged by her hair across it. I was three. I have grown up learning that to be the only sound of music. From the series "A Thousand Cuts."

Artist statement: Derived from the ancient Asian form of torture of lingchi (known as ‘death by a thousand cuts’), A Thousand Cuts is an ongoing series of portraits and stories that present a photographic study of patterns of domestic abuse in the South Asian community. I have borrowed the metaphorical meaning of lingchi to showcase the cyclical nature of domestic abuse. The continuous act of chipping at the soul of the abused is expressed by making cuts on the portrait of the participant, while the prints are made on thin paper to depict the fragility of the subject’s existence. The final artwork is photographed in a tight crop to create a sense of suffocation and absence of room for movement.

Davide Monteleone, Italy, Documentary Projects, finalist

Shabara, Kolwezi, Democratic Republic of Congo is one of the largest artisanal copper and cobalt mines in the region. Around 20,000 people work at the site, in shifts of 10,000 at a time. From the series "Critical Minerals - Geography of Energy."

Artist statement: Critical Minerals – Geography of Energy aims to investigate the exponential demand for the minerals necessary to achieve renewable energy goals. In the Democratic Republic of Congo I documented the condition and impact of cobalt mining, which is essential for the green energy transition. The environmental and human conditions of cobalt mining have been widely reported, and the mainstream narrative faithfully describes the devastating working conditions and problematic health, environmental and economic conditions that men, women and children are subjected to, directly or indirectly. This series underlines that the future of critical minerals lies not just in the depths of the earth, but in our collective commitment to creating a sustainable and equitable world. By weaving these threads into a compelling narrative, this project engages audiences in a broader conversation about the choices we make today and their profound implications for the sustainability of our planet.

Juliette Pavy, France, Documentary Projects, finalist

An archive photograph of Jytte Lyberth at the age of 14, when she had her IUD inserted. After a school medical check-up she went to hospital and was asked to take off her clothes. She was never told what was going to happen. A few months later she experienced severe pain from the coil and returned to hospital to have it removed. Since then, she has never been able to have children. From the series "Spiralkampagnen: Forced Contraception and Unintended Sterilisation of Greenlandic Women."

Artist statement: Between 1966 and 1975, Greenlandic Inuit women were the victims of an involuntary birth control programme known as the Spiralkampagnen (spiral campaign). Led by the Danish authorities, nearly 4,500 intrauterine devices (‘coils’) were implanted into Inuit women and girls, some as young as 12, many of whom say that the procedure was performed without their consent. This campaign was first revealed by a Danish podcast in spring 2022, and documents now prove that the authorities implemented the policy to reduce Inuit population growth. An official investigation has now been opened, which is set to conclude at the end of 2024.

Brent Stirton, South Africa, Documentary Projects, finalist

Lady Tina and Pretty Peter were previously jailed in Uganda for their trans lifestyle and experienced sexual assault. From the series "LGBTQIA Refugees: Fleeing Uganda."

Artist statement: In May 2023, Uganda criminalized same-sex conduct for those convicted of ‘aggravated homosexuality’, even though the Anti-Homosexuality Act of 2023 violates some of the fundamental rights guaranteed under Uganda’s constitution. Uganda’s penal code already punishes same-sex conduct with life imprisonment, but the new law legislates on new crimes, such as the ‘promotion of homosexuality’; introduces the death penalty for several acts considered as ‘aggravated homosexuality’; and increases sentences for attempted same-sex conduct to 10 years. Anyone advocating for the rights of LGBT people now faces up to 20 years’ imprisonment. Many LGBTQIA people have been forced to flee the country, and are now in fragile safe houses in Kenya. I felt compelled to work on this, as these laws are a violation of human rights and an assault on democracy: people in the LGBTQIA community are entitled to the same consensual rights as all humans when it comes to love and intimacy.

Jean-Marc Caimi and Valentina Piccinni, Italy, Environment, finalist

Climate change is prompting Sicilian farmers to give up their land to host photovoltaic and agrovoltaic systems, potentially threatening food sovereignty. Elena Giorgianni, a naturopath and farmer, is resisting the trend by growing tropical fruits organically in the hills around Messina. Taking advantage of the new weather conditions and the demand for high-quality Italian tropical fruits, she is pioneering an approach that balances environmental sustainability with consumer preferences. From the series "Tropicalia."

Artists statement: Sicily was once Europe’s main wheat producer, but it now faces the challenges of being a climate frontier, dealing with issues such as rising temperatures, desertification, unpredictable rainfall patterns and flash floods. As a pioneer in Europe’s response to tropicalisation, Sicily serves as an example of the scenario that awaits the whole continent. This series consists of a series of human, scientific and agricultural stories that explore the emerging realities amidst ongoing climate change. It highlights the efforts of local universities to drive agricultural innovation, test weather-resistant organic crops and introduce new fertilizers tailored to desertified land. The story also follows the burgeoning weather-sensitive tropical fruit industry in Sicily, where farmers are transforming their crops into extensive mango, avocado and papaya plantations to turn the weather challenge into a new opportunity.

Mahé Elipe, France, Environment, finalist

For 12 years, the indigenous association led by Leocadia Utiz has been organizing a native corn seed fair. Farmers from participating communities are invited to exchange native seeds and forgotten indigenous knowledge. According to Mayan belief, Leocadia claims to be descended from corn. Together with her family, she ensures the protection of the forest by cultivating milpa. From the series "Echoes of the Hive."

Artist statement: The Melipona bee is a rare species that doesn’t have a sting. It is seen as sacred by the Maya people, and its honey is said to have miraculous properties. It also embodies the resistance of indigenous communities in the region of Los Chenes, nestled in southeast Mexico, against the ravages of agro-industry. In March 2023 and more recently at the end of January 2024, a tragic fate befell more than one hundred beekeepers: their Melipona bees were poisoned by fipronil, an insecticide that is banned in most countries, but is still permitted in Mexico. This tragedy left deep scars on the Mayas, whose survival is intertwined with the golden nectar of the Melipona. Like an unrelenting tide, intensive agriculture is swallowing the Yucatan Peninsula, pushing back millennia-old jungles and threatening ancient practices. These images reflect the unshakeable determination of the Mayans, through individual and collective resistance, to leave behind an untarnished legacy for future generations.

Maurizio Di Pietro, Italy, Environment, finalist

Professor Laura Gasco evaluates the effects of including Hermetia illucens flours in the diet of rainbow trout. The European Commission has allowed insect meals to be used in feed in aquaculture since 1 July 2017, having equated this protein source to that of poultry and pigs. From the series "Zero Hunger."

Artist statement: The aim of the United Nations’ Sustainable Development Goal 2 is to create a world that is free of hunger by 2030 and focus on finding sustainable solutions to stop world hunger. Currently, the natural resources necessary for human survival are depleting due to climate change. Extreme weather, such as droughts and floods, have become more common and affect harvests, leading to less food for human consumption. However, breeding and eating insects is a sustainable practice that can help us reach our goal. Insects are rich in proteins and highly sustainable, with minimal environmental impact in terms of greenhouse gas emissions and water and soil consumption. As a result, researchers are studying the most sustainable and cost-effective ways to promote the use of insects as a food source for both people and animals.

Jim Fenwick, United Kingdom, Landscape, finalist

Trees standing against the backdrop of a night sky in Palermo, illuminated by the red glow from the wildfires. From the series "Wildfires of Palermo."

Artist statement: In September 2023 I arrived in Palermo, in the midst of a gripping environmental problem that was unfolding across Sicily. The canvas of the night sky had been transformed into a captivating tableau as the flames from ongoing wildfires painted a surreal and enchanting spectacle. The ethereal glow was a juxtaposition of beauty and devastation.

Eddo Hartmann, Netherlands, Landscape, finalist

An infrared image of the remains of an observation tower at Opytnoe Pole. This was the first testing ground at the Semipalatinsk Test Site, which was a large-scale facility used between 1949 and 1962 for atmospheric nuclear tests. From the series "The Sacrifice Zone."

Artist statement: This series explores a remote area of Kazakhstan known as ‘The Polygon’, which was once home to the Soviet Union’s major nuclear testing facilities. Between 1949 and 1989 more than 450 nuclear tests took place here, with little regard for their effect on the local people and environment. The full impact of radiation exposure was hidden for many years by the Soviet authorities and only became clear after the test site was closed in the early 1990s. The location is still heavily contaminated and can only be accessed in protective clothing. The images in this series were made using an infrared camera, which hints at a menace that is equally invisible to the human eye: the radiation resulting from the nuclear explosions. Plants that have absorbed radiation acquire a strange reddish-purple colour, which is how their toxicity – invisible to the naked eye – is revealed.

Fan Li, China, Landscape, finalist

An Atypical Chinese Landscape. From the series "An Atypical Chinese Landscape"

Artist statement: These scenes and objects–the result of human production and labor processes serving human survival and life–are now left on the earth and have become the landscape. Some of these landscapes have become construction waste, destroying the living environment and becoming permanent scars.

Aly Hazzaa, Egypt, Portfolio, finalist

Just as the traffic stalled in a street in Old Cairo, the reflection of a person appeared on a car window. I only had one chance to take this photograph before the cars started to move again. From the series "Quest for Coherence"

Artist statement: As a freelance photographer I try to be ready for my next assignment, keeping my eyes open and my reflexes fast. Nothing is better for this than practicing street photography. My routine is to walk along the streets of Cairo, documenting life as it unfolds around me, without any specific goal. My aim is to create a cohesive body of work from my explorations on the street, and I am particularly drawn to the interplay of colors, shapes and reflections. My fascination with people and the streets fuels my work.

Angelika Kollin, Estonia, Portfolio, finalist

Ongeziwe. This portrait was taken in Cape Town, South Africa. From the series "Parenthood."

Artist statement: The nucleus of one’s existence is rooted in family; each person inherently has parents. In our contemporary society, the concept of family has evolved and now integrates and embraces both traditional and new forms. No longer confined to a mere group of individuals sharing blood ties, I believe that family is increasingly becoming a feeling rather than a particular manifestation of form. My photographic exploration examines the myriad forms that a modern-day family can take, uniting them under common and universally sought human emotions: a sense of belonging, love and emotional intimacy.

Jorge Mónaco, Argentina, Portfolio, finalist

A portrait of an old Kazakh man in traditional dress. Due to globalization, young Kazakh people no longer wear these clothes. From the series "Portraits and Landscapes."

Artist statement: These images are part of various personal projects, some of which detach from the main body and function as independent pieces. My focus is on sincerity and authenticity, inviting the viewer to delve into the intimate stories of the protagonists. Additionally, some of my projects take place outdoors, providing sociological contexts that enrich the visual narrative. My goal is to create projects that shed light on the lives of people from minority groups, whether they are ethnic, religious or gender-related. Through my images, I aim to raise awareness and promote inclusion, offering a reflective perspective on human diversity. Within this collection are works belonging to an ongoing project that explores the ‘intermediate landscape’; environments situated between the urban and the natural, usually located on the outskirts of cities. These strips of territory typically appear ambiguous or undefined.

Drew Gardner, United Kingdom, Portraiture, finalist

A recreation of an original photograph of Harriet Tubman with her great-niece, Deanne Stanford Walz. Her costume was recreated specially for the photoshoot. From the series "Descendants of Black American Civil War Combatants."

Artist statement: This series recreates photographs of black American Civil War combatants with their descendants. The project was three years in the making, following comprehensive searches of archives for photographs of black American Civil War soldiers, where the identity of the person in the photograph could be verified. Working with genealogists from Wikitree’s U.S. Black Heritage Project, we traced the descendants of the Civil War combatants and brought them together from all over the United States to be photographed using a period 5x7-inch tintype process in an authentic daylight studio. The sitters had to stay perfectly still, which often meant using a neck brace for exposures of up to 40 seconds. The sitters wore custom, handmade costumes and sets were built especially; some of the props used were authentic Civil War items.

Valery Poshtarov, Bulgaria, Portraiture, finalist

Blagoevgrad, Bulgaria, 2023. From the series "Father and Son."

Artist statement: In a world that is already growing apart, holding hands becomes a silent prayer – a way to come together again. While posing, fathers and sons hold hands for the first time in years, sometimes decades. It’s a powerful moment, often filled with hesitation or even resistance. This act of intimacy became the project’s main purpose, the photographs being just a mere testament to the long-unspoken love between the men. Spanning cultures, reaching corners of Bulgaria, Georgia, Turkey, Armenia, Serbia and Greece, this project has become a beacon of emotional expression and cultural preservation. It serves as a global stage, encouraging fathers and sons from around the world to join the act. By leaving the narratives behind, these portraits become open to interpretation and I invite viewers to add their own layers of meaning, making us all contributors to this evolving story of humanity.

Adali Schell, United States, Portraiture, finalist

Lily Abbitt, 19, and Zane Burrows, 20, embrace on the side of the road in Topanga Canyon, California. From the series "The First Car."

Artist statement: Growing up in Los Angeles, some of my earliest memories were made in the car. Specifically, my dad’s vintage 1980s Mercedes – which he converted to run on vegetable oil – acted as my respite. The hum of the engine, the tears in the leather interior and the sound of his burned CD’s accompanied my earliest understanding of L.A. I remember the sense of privacy that the car provided me, and how it enabled my looking. In 2022, I was commissioned by The New York Times to photograph my friends in their first cars. Having spent my final teenage years in isolation due to the pandemic, the car provided me with a space to come back into touch with my community and with L.A. The article, entitled Magic of Your First Car, was published in February 2023, and exhibited internationally at Les Rencontres d’Arles and the Museum of Warsaw in July 2023.

Angelika Jakob, Germany, Sport, finalist

Winner Josef Utzschneider, light-heavyweight champion of the German finger wrestling championship. From the series "Finger Wrestling in Bavaria."

Artist statement: Finger wrestling is an honest sport for real powerhouses. The rules are simple and there is hardly any trickery involved, as speed, good fingers and concentration are all that’s required. Everything is clear and simple: the strongest wins, and the best pulls everyone over the table...

Thomas Meurot, France, Sport, finalist

When you’re looking for surf in Iceland you take anything you can, big or small. Here, Samuel Redon enjoys the small surf. From the series "Kald Sòl (Cold Sun)"

Artist statement: Kald Sòl is a series I undertook while documenting a surf expedition in Iceland in the middle of winter, which resulted in my first documentary, with the same name. Documenting cold surfing has always appealed to me, so when I got the chance to do it, I jumped at the opportunity straight away. The black- and-white photographs reveal the cold, even when the sun is out.

Tommaso Pardini, Italy, Sport, finalist

Isma shows off his potential to the surfers in the line-up. From the series "Surf in Dakar."

Artist statement: The Senegalese surf scene is growing fast and I’ve been there to document the life of Ismaila Samb, a young, promising surfer who is aspiring to become a professional. The surfers here don’t have the best equipment, but though they surf with old surfboards and wetsuits, their passion is above everything. My mission was to help Isma gain visibility and international recognition. After my visit he travelled outside Africa for the first time and joined the Senegalese national team taking part in the World Surfing Games in El Salvador.

Peter Franck, Germany, Still life, finalist

Silent give and take. From the series "Still Like Art"

Artist statement: Everything in the pictures is arranged, down to the smallest detail. This meticulous arrangement stands in the highest possible contrast, here in black and white, to the infinite possibilities of association by the viewer. The sovereignty of interpretation is as individual as the society out of which these works are created. The photographs explore the elemental and expansive qualities of the medium, picturing a world aglow, one that feels known but is rarely seen. Photography’s past restrictions meet the unlimited possibility of its present and in constructing his photographic world he proves its existence.

Beth Galton, United States, Still life, finalist

London Plane Tree. Created in the artist's studio using daylight, this series consists of cast-off bark with manipulated printed self-portraits. From the series "London Plane Tree."

Artist statement: Our lives are built up, layer by layer around our core selves. Belief systems, memories and opinions define who we are. But underneath these layers, what remains? As an artist and a person finding themselves in the later part of life, it has become essential for me to reevaluate and prioritize how I move through the world. Peeling back layers and looking for that original sense of self has become important. Walking to my studio, I pass a line of London Plane trees, and have noticed that they shed their bark. The tree is growing rapidly, and the bark is unable to expand as quickly as the tree enlarges. This fascinating process resonates with me. How do I shed preconceived constructs to make room for growth? How does this practice expose my vulnerabilities? To answer these questions, I created this photographic series, which consists of cast-off bark with manipulated self-portraits, connecting my exploration with nature.

Federico Scarchilli, Italy, Still life, finalist

Angelica has been used in traditional medicine to treat multiple health conditions. It is thought to contain various bioactive ingredients that may have antioxidant, antimicrobial and anti-inflammatory properties. Researchers have also studied Angelica’s potential anticancer effects in a lab, testing Angelica archangelica extract on breast cancer cells. They found that Angelica may help cause breast cancer cell death, leading researchers to conclude that the herb may have antitumor potential. From the series "Flora."

Artist statement: Plants are among the main suppliers of medicinal substances and should be considered as the producers and dynamic containers of chemical substances. In their evolution they have developed innumerable secondary metabolites that perform various ecological functions for the plant, such as repellence, defence from herbivores, fighting against other plant species for resource control, defence from parasites and attraction to pollinators. These secondary metabolites have also shown important pharmacological activities in humans, which constitute the active ingredients or the main components on which the curative action of a drug depends; in fact, 40 percent of monomolecular drugs derive from plant species. This series highlights the important role of pharmacognosy in modern biology.

Eva Berler, Greece, Wildlife and Nature, finalist

The artist describes the worlds hidden in spider webs as a metaphor for our private inner selves, of our deepest fears and aspirations. From the series "Suspended worlds."

Artist statement: This project started as an exploration of the world of spider webs, where both time and action are frozen, but it led to a personal journey into my deepest fears and aspirations. As I focused on what was hidden in the webs I became fascinated by the artful random creations that I found; the impermanent worlds that we don’t usually notice. I realized that these worlds resonate with me on a deeper level. They work as metaphors for the hidden lives of the people next to us, who we pass by every day and don’t really know anything about. We all have our private lives that we prefer to keep to ourselves; our personal mystic treasures, our inner selves. These are the innermost places where we can be whatever we choose to be.

Jasper Doest, Netherlands, Wildlife and Nature, finalist

Elephants charge through Livingstone’s narrow streets, their towering figures trumpeting into the night. Altered habitats mean they emerge from the national park at dusk to seek food within Livingstone. A nighttime curfew, urging the community to stay indoors, aims to reduce human-wildlife conflict. From the series "In the Footsteps of Giants."

Artist statement: The delicate equilibrium between humans and elephants in rural parts of Zambia is being disturbed as both populations vie for limited resources. The expansion of settlements and unsustainable agriculture is encroaching on elephant habitats, jeopardizing the well-being of both human livelihoods and the elephant population. The question arises: can humans and elephants coexist? These problems have been escalating in the past decade, and with the expectation of increased droughts due to our warming climate, establishing transfrontier wildlife corridors becomes essential. However, the establishment of these corridors faces challenges posed by settlements, agriculture and infrastructure, which results in daily human-wildlife conflict. As these persistent issues continue it is increasingly evident that the local community plays a vital role in fostering a harmonious coexistence between humans and elephants. Developing economically and socially viable models for coexistence within the local community will be crucial for the long-term survival of both elephants and humans.

Haider Khan, India, Wildlife and Nature, finalist

Rhinos with injured horns suffer from pain, infections and a reduced ability to defend themselves. As poaching and habitat loss continue to threaten their survival, rhino conservation efforts attempt to stop them from being killed. From the series "King Without a Throne: Poached or Dehorned."

Artist statement: The persistent human desire for rhino horn – for everything from traditional medicines to hangover cures or status symbols – drives the slaughter of more than 1,000 of these majestic animals each year in South Africa. To protect them from poachers, some rhinos are now deliberately dehorned, something that is considered a necessary evil by anti-poaching campaigners in Africa. However, while cutting off a rhino’s horn prevents poaching, it also changes their behavior and affects their ability to interact or establish territory. Either way, they are the ones that suffer. With this series I want to share the painful story of two rhinos, one living in Munich, Germany, and the other in Kolkata, India. Despite being separated by thousands of miles, these beautiful creatures have a shared past: both of them have been stripped of their once-proud horn, symbolizing the harm that humans can inflict upon wildlife.