Camera
Interview – Fujifilm: “We are not just a camera company, we are an imaging company”
As the global COVID-19 pandemic continues to make international travel impossible (or at least inadvisable) we’re beginning 2021 with a series of interviews conducted remotely. This week, we sat down (virtually) with senior executives of Fujifilm, to learn more about the development of the new GFX 100S, plans for future lenses and what kind of a company they want Fujifilm to be.
What customer did you have in mind for the GFX 100S?
[Makoto Oishi] The [original] GFX 100 is our flagship camera for professional photographers, because it has the integrated battery grip and twin batteries, and accessories like the tilting EVF. But we wanted the GFX 100S to appeal to a wider range of users. So not only professionals, but also advanced amateurs, who are used to 35mm and full-frame SLRs.
The GFX 100S is your second medium format camera with IBIS. How were you able to reduce the size and weight of that mechanism?
[Shinichiro Udono] When we started planning the original GFX 100, we decided from the beginning that it would have that form factor, with the vertical grip. So we had room [inside the camera], and we decided that durability would be a priority. With the 100S, from the beginning we decided that it should be almost the same size as a full-frame camera. That was our target, so then we redesigned all of the internal components – not just the IBIS unit – and we optimized the internal layout of those components
[M.O.] The layout of the internal components is very important. So for example in the GFX 100S we could put the battery in the grip. That’s a critical point in the design. The width of the shutter was [also] a key component, to keep the camera small. And also the new [smaller] battery. In the two years since we developed the original GFX 100, of course new technologies have been developed, but the differences aren’t actually that big.
Aside from the components and the internal layout, are there any construction or build quality differences between the GFX 100 and the new GFX 100S?
[M.O.] Both cameras meet and surpass our quality assurance standards, of course, but the GFX 100 was designed for ultimate ruggedness. The GFX 100 has an inner chassis, for example, for strength. So it’s better able to withstand external shock.
Why did you decide not to offer a vertical grip option for the GFX 100S?
[M.O.] Because we have the GFX 100 [already].
 |
| The new GFX 100S offers a lot of the same functionality as the flagship GFX 100S, but without that model’s extreme ruggedness (or vertical controls). |
What was the most important, or most consistent feedback you received from owners of the original GFX 100?
[M.O.] All of them loved the image quality, and thought the resolution was amazing. And the new sensor gave better performance, for example for face detection. But a lot of users wanted a smaller, lighter body, and a lower price. Those were the main demands, so we developed the GFX 100S for a wider base of customers, especially DSLR users who needed easier operation. That’s why we included a mode dial on the GFX 100S.
Will IBIS become standard in future across the GFX range?
[M.O.] That will depend on body size and design [constraints] of course, but yes, especially for 100MP imaging, I think IBIS is required in order to maintain image quality.
Where are the gaps in the GF lens lineup, and what are your priorities for expanding the lineup in future?
[M.O.] Our GF lenses currently cover from 23mm to 350mm (the GF 250mm with a 1.4X TC) which is a good focal length range. But we’re continuing to develop some of the ‘missing’ focal lengths, and lenses with unique features.
[S.U.] We’ve received a lot of requests for wider prime lenses, and also tilt/shift lenses. And a wide [angle] zoom lens. Those are typical kinds of requests we’re getting from our GF customers.
[M.O.] Many of our GF users like to shoot landscapes, and they like to use wider focal lengths. We also have a lot of architecture photographers, and they’re requesting tilt/shift lenses. We’re studying [these requests].
Which of those types of lenses is your biggest priority?
[M.O.] We [still] have to discuss that!
 |
| Shinichiro ‘Shin’ Udono, Senior Manager of Fujifilm’s Optical Device & Electronic Imaging Products Division. |
What are your priorities for new lenses in the APS-C X-series line?
[S.U.] In terms of focal lengths, we’re missing super telephoto. The maximum focal length now is 400mm. So we’re missing 500mm, 600mm [etc.]. And because we started the system almost ten years ago, the first generation lenses have slow autofocus, and don’t have weather-resistance. We need to refresh those designs.
The X100V was released almost exactly a year ago – how has it performed in the market?
[M.O.] I think you want a GFX 100V! [Editor’s note: I definitely do]. Sales of the X100V are almost at the same volume as the previous model, even despite the situation with COVID-19. We think that there’s been an increase in demand for lifestyle-type shooting, from people staying at home.
What kind of response have you had from X-T4 customers?
[Jun Watanabe] Generally speaking, the X-T4 has been a success in the market, not only in terms of image quality but also new features like in-body stabilization, the new battery and the more powerful shutter. The video performance has also been well accepted as a good balance between performance and price. We’ve also made good progress with autofocus performance, face and eye detection, and tracking. But some sports photographers have requested greater autofocus performance.
How are you planning to improve autofocus performance?
[J.W.] We will keep on improving performance, and some improvements will come through firmware, and some through hardware. Face and eye detection works well, even when people are wearing glasses, and masks. But we have to improve things like tracking in distance.
[S.U.] The speed of the autofocus mechanisms is acceptable, but we recognize that some details are missing in the AF algorithm, in tracking. When you’re tracking a subject and something comes between the camera and subject, sometimes you might lose focus. So we have to improve the algorithm, and we’re working on that. Also some of our lenses are ten years old, and they slow down autofocus.
Sometimes it’s a matter of photographer preference. Some people love a system that moves very quickly onto a new subject, but some photographers prefer a system that sticks to the original subject. We really need to have more discussions with photographers, and offer them some options. If possible we’ll make improvements via firmware.
 |
| The multipurpose X-T4 offers a well-developed set of video features, but executives have hinted that there may be room in Fujifilm’s lineup in future for a dedicated video model. |
The X-T4 is quite a powerful video camera, but a lot of the people buying it will probably be mostly shooting stills. Is it possible to satisfy both needs in one product, or is there an opportunity for a dedicated video camera in the X-series range?
[S.U.] The X-T4 reaches a high level of image quality already for video shooting. But thinking of video shooters versus stills photographers, the form factor requirements are different. The X-T4 is designed more for stills shooting. For example the screen. Videographers really like fully-articulating LCD screens, but some stills photographers don’t. If we really wanted to chase videographers, we’d need to think about a different form factor.
We’re always studying [solutions like this] but we have to think about things like market size, the number of users, things like that. But we have received such requests from videographers who are currently using the X-T4.
[J.W.] The X-T4 is one possible answer [though], because of things like the totally independent stills and movie menus, and the articulating LCD.
Now that sensor technology has developed so much, is Fujifilm interested in developing computational imaging features in future cameras?
[S.U.] That is not an easy question to answer! In terms of technology, if the sensor speed and processing speed are both very fast, then you can do a lot of things. We’re always thinking about the next generation, even four or five years ahead. So in future, probably, those kinds of features will be technically possible. But how to integrate that kind of technology into our camera system is a harder question. We really have to think about what our customers want, and what will benefit them.
We are very interested though, and we’re always researching. Our Photo Imaging Division creates Instax cameras, and maybe [computational photography] technology could be applied to a more consumer-level system [like that].
As pixel counts get higher, is there still a benefit to X-Trans?
[M.O.] Even with higher resolutions, X-Trans still works better. Thanks to this technology, our cameras don’t have moiré or false color. It’s very effective. But it does depend on the kind of sensor. For example our medium format 100MP sensor resolves 99% of subjects, so there’s no moiré or false color, so no need for X-Trans. That’s why GFX doesn’t have X-Trans but our X-series, with 26MP, still needs it.
 |
| Masato ‘Mark’ Yamamoto, a 35-year veteran of Fujifilm, holds the position of General Manager of the company’s Optical Device & Electronic Imaging Products Division. |
How has the COVID-19 pandemic affected your product planning and general strategy?
[Masato Yamamoto] In general, the business impact caused by COVID was fairly temporary. Last year, at the beginning of the pandemic, obviously we didn’t know what was going to happen, but the impact was less than we expected. However, at the same time, the pandemic created a shift in customer behavior. We saw less demand for products under $1,000, but greater demand for our high-end and GFX cameras.
This trend has accelerated [during the pandemic]. So we’ve applied ourselves to monitoring these trends and listening to feedback from our customers, and we’re confident that our strategy is working. We’re focused on the high end, and we’ll continue listening to those customers.
Did you have to make any changes to your planning or strategy?
[M.Y.] Not really, but with people being at home, for example, we have seen demands for better movie [features]. Online communication is becoming more popular, so we have to consider these kinds of demands in addition to our existing strategy. Maybe we will make some tweaks, some [small] changes of direction, but we’re confident that we can continue with our existing strategy in the future.
What is the biggest challenge facing Fujifilm as a camera manufacturer in 2021?
[M.Y.] Well, not only in 2021! Development is always very challenging. We’ve discussed image stabilization technology, but also design, making our interfaces more easy to use. Developing things like that and making breakthroughs, and innovating, it’s always challenging. But at the same time it’s an opportunity to change the world.
Our biggest point of differentiation is color reproduction, thanks to our film simulations. So on the marketing side, one of the biggest challenges is how to let customers know about how Fujifilm’s image quality is different to our competitors. And also explaining the benefits of [larger formats] to them. But with the GFX 100S, by providing a compact camera with good features, and easy to use design at a lower price-point, we think it’ll open a door to a lot of customers. We’ve already had a lot of pre-orders. It’s a good sign. People are appreciating the benefits of this larger format, and it’s really opening up the market for many users. Full-frame is not the only format.
 |
| The X100V was launched at the very beginning of the COVID-19 pandemic, but according to Fujifilm executives has sold well – partly thanks to an increase of interest in home-based ‘lifestyle’ photography by photographers unable to travel. |
In the long term, do you want your GFX and GF camera and lens system to be competitive with full-frame products, on price?
[M.Y.] We’re always thinking about how to give customers more opportunities to experience our products. So price is one of the factors, but not the only one. There’s also features, size, ease of use. All of those things together give us new opportunities to meet new customers.
[S.U.] Price is very, very important, but it’s not the top priority in the GFX system. Of course we recognize that if we matched our prices to full-frame, probably the demand for our products would be greater. But to achieve high quality we need things like a more accurate IBIS unit, bigger shutter and bigger sensors. These things all cost more [than they would for full-frame]. So in order to maintain quality in our GFX line, the price needs to be probably a little higher than full-frame, but in order to stimulate demand in the market, we do try to minimize that gap. That’s our strategy.
Yamamoto-san, you’ve been in your new role at Fujifilm for relatively little time – how are you hoping to imprint your vision on the camera division?
[M.Y.] The camera division is a very important part of Fujifilm. Photography and imaging is our core business, and it’s where the power of our brand comes from. We think a lot about how to expand the world of photography to everybody. We are committed to continuing this work, and making sure that our camera business continues to flourish and be successful. This is our responsibility.
Imaging is a very powerful medium, and I’m proud to know that our cameras and our imaging systems have been used to immortalize some of the most powerful moments in history. We want to continue to make digital cameras and imaging systems that inspire photographers to create images that tell and share many stories. We are not just a camera company, we are an imaging company. My vision is to help to pull all of those efforts, and put all of those assets together to enable us to show our value to all kinds of users from professionals to amateurs.
And there are opportunities. For example people who have started taking photographs on their smartphones, and are shooting in every moment, they understand the value and the power of photographs and sharing moments. We need to make more effort to share our products and our solutions [with those people].
How do you intend to attract those kinds of new customers?
[M.Y.] We have many things. We’ve always provided attractive products in our X-series, like our recent X-S10. It’s very compact, very powerful and easy to use, and for people who started shooting with a smartphone, it’s small, easy to use, and it’s a very good step-up product. We also have the Instax system, which has been a big hit, we reached annual sales of 10 million cameras in 2018, so that’s a big base of potential Fujifilm fans who might buy our X-series cameras. Our overall promotional strategy is to reach everyone – including those younger customers.
Editor’s note: Barnaby Britton
This was my first conversation with Mr. Yamamoto, a 30+ year veteran of Fujifilm, who has only been in his current position for a few months. He joins a well-established team of engineers and executives, and has taken over the management of two (arguably three, if the X100-series is to be considered separately) equally well-established product lines. The company’s latest medium-format camera, the GFX 100S, puts large-sensor imaging within reach of many enthusiasts, at an MSRP comparable to that of pro DSLRs. On paper, the GFX 100S is a more compelling product in many ways even than the flagship GFX 100, but it is interesting to hear from Mr. Oishi exactly where the internal differences lie. In short: If you want the ultimate in durability, save up for a GFX 100. For everything else, the GFX 100S will likely be a better option (unless you need a vertical grip!)
Fujifilm’s identity as a modern digital camera manufacturer was formed roughly a decade ago with the original X100. Since then, the company has launched two mirrorless interchangeable lens mounts, and developed a range of lenses for both APS-C and medium-format. Mr. Yamamoto clearly sees Fujifilm holistically as an ‘imaging’ company rather than just a camera maker, and of course he’s right that no other company in the industry has the same depth of experience in imaging, going right back to the days when Fujifilm was one of the leading names in film. This isn’t just the standard senior executive’s expression of pride in his company’s legacy: Fujifilm’s color science (most obviously manifested in its film simulation profiles) is a major selling point of the company’s products in today’s market.
Fujifilm has been developing digital cameras since the 80s, but the X mount isn’t even yet in its teens. It’s almost comic, therefore, to hear Fujifilm executives referring to any of its current line of XF products as ‘old’. However, the fact that – as Mr Udono admits – first-generation XF lenses are now holding back the autofocus performance of its current flagship cameras, demonstrates how far Fujifilm has come in that time.
There is still room for improvement, though. Alongside the strong hint that updated version of those original XF primes are coming was a clear commitment from Fujifilm executives to improve autofocus performance in the flagship X-T4 via firmware, with hardware improvements being considered in the future. Mr. Udono also hinted at longer lenses coming for XF in future, which in combination with improvements to AF might help consolidate the company’s reputation with sports and action photographers.
As for videographers, reading between the lines of responses to our questions in this interview, it seems as if a dedicated video camera using the XF mount is at least being considered, alongside the multipurpose X-T4. It’s interesting to consider exactly what a camera of this type might look like, since as Mr. Udono says, the form factor requirements may be different.
|
Canon EOS 20D and 17-40mm F4 L lens | ISO 100 | 3.2 sec | F4
Photo: Dale Baskin |
The December edition of the Editors’ Photo Challenge is open for submissions! Our theme this month is ‘Happy Holidays’.
Whatever holiday tradition inspires you – Christmas, Hanukkah, Boxing Day, Kwanzaa, Festivus, or something else – show us what the holiday season looks like through your lens. Whether it’s colorful lights, dazzling decorations, festive gatherings, or just a cozy moment, we want to see your best holiday season photos.
This challenge is open to photos taken at any time. Photos must be submitted by Saturday, December 7 (GMT).
Visit the challenge page to read the full rules and to submit your photos for consideration.
Also, don’t forget to check out some of the other open and upcoming photo challenges hosted by members of the DPReview community. Or, see some of the great photos from recently completed photo challenges.
Open challenges:
- The Triumph (closes Dec. 4)
- Close-up/Macro – Bugs (2024 Shots Only) (closes Dec. 5))
Upcoming challenges:
- A Big Year 2024 (opens Dec. 2)
It’s 21 years since we reviewed the Olympus E-1, arguably the only successful attempt to develop a digital SLR from first principles, rather than trying to adapt what had come before. As part of our 25th Anniversary celebrations, we look back at the E-1 as one of the most significant cameras of the past 25 years.
In the early days of digital photography the large number of photographers already heavily invested in film lenses put pressure on companies to continue their existing systems, even though ‘full-frame’ sensors that matched the film format they were designed around were prohibitively expensive for most photographers.
The Four Thirds system was an attempt at a clean slate design, with the intention of developing a new set of lenses designed to suit digital sensors, and built around a sensor chosen because it had a good performance-to-price ratio, not to match the arbitrary dimensions of cinema film stock adapted for photography in the early 1900s. It was a decision that would also allow smaller lenses, particularly at longer focal lengths.
The first open system: the Four Thirds timeline
- Feb 2001: Kodak and Olympus enter patent sharing agreement
- May 2001: Olympus confirms DSLR concept with Type 4/3 sensor
- Sep 2001: Kodak and Olympus announce “Four Thirds” system with Fujifilm participation
- Jun 2003: Olympus reveals E-1 5MP Four Thirds DSLR
- Nov 2003: DPReview reviews the first Four Thirds camera
- Feb 2004: Panasonic, Sanyo and Sigma join Four Thirds
The Four Thirds initiative was started by Kodak and Olympus, with the two companies settling on a 5MP Type 4/3 (17.3 x 13mm) CCD sensor. This sensor size and the use of the 4:3 aspect ratio common in most early digital sensors give the system its name.
They also announced it would be an open standard, with other companies welcome to join, a decision that prompted Fujifilm to announce its interest, followed by Sanyo, Sigma and Panasonic, some seventeen months later. For a while it looked like a critical mass might coalesce, finally bringing about the long dreamt-of common mount, allowing complete interoperability between multiple brands.
In the meantime, although later than the initially suggested Feb 2002 launch date, Olympus developed the E-1, a high-end magnesium alloy DSLR with a 100% viewfinder and that 5MP Four Thirds CCD at its heart. Announced alongside five lenses in mid 2003, the original press release highlights the ‘Supersonic Wave Filter’ sensor shake system that shook dust off the sensor as solving “a problem that has long been an Achilles heel of … digital SLRs.”
Unfortunately, in his review, Phil highlighted that the Olympus couldn’t offer either the speed or the resolution that were typically expected of a camera with the E-1’s stated professional ambitions. This was made more stark by its $2199 original price tag (albeit with a ‘street price’ well below that), at a time when Canon’s 6MP EOS 10D would set you back nearer $1500.
 |
| It took the more affordable E-300 model for the Four Thirds to really find its audience. By the time the E-330 arrived, two years later, Kodak was out of the picture. |
It took 2004’s 8MP E-300, with its much more attainable price point (around $1000 with kit lens) for Four Thirds to really find its audience.
By 2006 Panasonic and Leica were alongside Olympus spearheading the system, with each brand releasing variations of technologies co-developed by the two Japanese companies, including “Live MOS” sensors from Panasonic, rather than Kodak. The Olympus E-330 and Panasonic L-1/Leica Digilux 3 were some of the first DSLRs to offer live view, with the E-330 including a more sophisticated/complex implementation. You don’t have to squint very hard to see the beginnings of the first mirrorless camera, which Panasonic would introduce just two years later.
Despite a broadly sound initial concept, one challenge of the use of a smaller-than-film sensor in a DSLR was that the viewfinders were often quite small and dark (because the sensor size defines the size of the camera’s mirror, which in turn puts a limit on how large or bright you can make an optical viewfinder).
This was resolved with the move to a mirrorless design and the creation of the Micro Four Thirds system, built around the same Type 4/3 sensor format and a lot of technology developed during the Four Thirds era. Perhaps fittingly, the final Four Thirds camera was a direct continuation of the original E-1 line, with the system being officially discontinued 18 months later.
With this in mind, it might seem odd to call a system with a span of just over seven years between the launch of its first camera and its last a success, but I’d focus more on the groundwork it laid. Twenty-one years after the launch of the E-1, the Four Thirds sensor format is still very much with us, and you can trace a direct line from the first all-digital DSLR project to the mirrorless cameras that dominate the ILC market today, even if both Kodak and Olympus have now exited the photography market.
Wildlife Photographer of the Year People’s Choice Award
A few weeks ago, The Natural History Museum, London, announced the winners of its 2024 Wildlife Photographer of the Year Awards for 2024. Now, it needs your help to select the winner of its 2024 Wildlife Photographer of the Year People’s Choice Award.
The 25 finalists for the People’s Choice Award were selected from 59,228 entries from 117 countries and territories. Members of the public can cast their vote for the award until January 29, and the winning image, along with four runners-up, will be announced in February. Here, we present the 25 finalists for this year’s award.
If you’re a wildlife photographer and want to enter your own images in the 2025 competition, you can find information on the competition’s website. However, act quickly: you have until December 5th to submit your images.
Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London.
Wolf Pack
 |
Wolf Pack by Arvind Ramamurthy, India
Members of an Indian wolf pack pause briefly as they play in fields in Bhigwan, India.
Indian wolves were once found all across India. Now, their number has dwindled to as few as 3,000. Living so close to humans poses many risks. Farming has fragmented their rolling grassland habitat, and feeding on cattle carcasses puts them at risk of disease. But Indian wolves are hardy animals. With better grassland management and protection, they could make a strong comeback. Arvind was photographing this pack playing in the grassy fields. One of them came and sat down at the edge of the agricultural crop, and one by one, four others joined it. They paused for a few seconds before they ran off again, playing and chasing one another.
Copyright Arvind Ramamurthy / Wildlife Photographer of the Year
Icy Repose
 |
Icy Repose by Sue Flood, UK
A dramatic blue-grey sky highlights the soft greys of a Weddell seal as it rests on an ice floe.
Sue watched this Weddell seal from aboard a rigid inflatable boat in Neko Harbour of the Antarctic Peninsula. So as not to disturb its peaceful slumber, Sue used a long lens to record this serene portrait. Weddell seals’ large bodies are covered in a thick layer of blubber. This keeps them warm above and below the icy waters of the Southern Ocean.
Copyright Sue Flood / Wildlife Photographer of the Year
A Good Scratch
 |
A Good Scratch by Mark Williams, UK/Canada
A beluga whale rubs its underside on a shallow river bottom to exfoliate its skin.
Mark took this image in a remote inlet along the Northwest Passage in the Canadian Arctic. Hundreds of beluga whales come here to socialize and exfoliate in the shallow water. The passage is also a safe haven, away from the predatory orcas. Belugas are extremely sociable mammals. They live, hunt and migrate together in pods that can range from quite small into the hundreds. Nicknamed ‘the canaries of the sea’, they produce a series of chirps, clicks, whistles and squeals that Mark found otherworldly.
Copyright Mark Williams / Wildlife Photographer of the Year
Scanning the Realm
 |
Scanning the Realm by Aaron Baggenstos, USA
A puma stands on a windswept outcrop in the rugged mountain terrain of Torres del Paine National Park, Chile.
It is a symbol of hope. A successful conservation movement led to the creation of the national park and a rise in ecotourism in the region. This has also helped to reduce conflict between pumas and local gauchos (sheep farmers). The gauchos view pumas more positively because they’re attracting tourists, which is good for income. The introduction of sheepdogs has also helped. The dogs confront any approaching pumas and stop them attacking the sheep. In turn, the pumas hunt their natural prey, and the gauchos are less likely to shoot them. The change has been gradual but has gained momentum over the past 20 to 30 years. There is hope that humans and pumas can live alongside one another.
Copyright Aaron Baggenstos / Wildlife Photographer of the Year
Aspen Shadows
 |
Aspen Shadows by Devon Pradhuman, USA
Four grey wolves cross a minimalist landscape of naked aspens and snow in Yellowstone National Park, USA.
It was early spring in the Lamar Valley, and this pack was in search of its next meal. Watching from a distance, Devon saw them heading towards this patch of aspens and thought it would make a compelling image. The wolves walked right past these trees and then continued to follow the tree line, eventually disappearing over the hillside.
Copyright Devon Pradhuman / Wildlife Photographer of the Year
Evening Song
 |
Evening Song by Christian Brinkmann, Germany
A singing Eurasian songbird is silhouetted against a backdrop of colorful fairground lights in Münster, Germany.
During a popular fair in Münster called the Send, an interesting atmosphere arose behind the castle. The evening mood was gentle, and Christian had singing birds on one side and party music on the other. In front of the fairground lights, this Eurasian blackbird posed for its song. Although blackbirds are a common sight, Christian likes to photograph them in distinctive ways. Here, the silhouette of the bird set against a colorful backdrop gives the image an artistic flair.
Copyright Christian Brinkmann / Wildlife Photographer of the Year
Sneak Attack
 |
Sneak Attack by Erlend Haarberg, Norway
A polar bear cub attempts an underwater surprise attack on a northern fulmar.
In the Norwegian archipelago of Svalbard, a walrus carcass had attracted a female polar bear and her two cubs. But one of the cubs was more interested in playing in the water than eating. The cub was having fun diving under the water and resurfacing, playing with the seaweed and kelp. The northern fulmar resting on the surface of the water awakened the cub’s desire to hunt. Erlend watched as it attempted several underwater surprise attacks on the bird, only to fail each time. Play hunting like this is essential learning for a young bear. Eventually, it will have to survive in the Arctic without its mother.
Copyright Erlend Haarberg / Wildlife Photographer of the Year
Slap Shot
 |
Slap Shot by Savannah Rose, USA
A beaver cocks its tail before slapping it down on the water to alert its family to a newcomer.
Savannah enjoys photographing North American beavers in this pond in Jackson, Wyoming, USA. As she approached the shoreline, a beaver cruised cautiously by after emerging from its lodge. It cocked its tail up and brought it down with a resounding crack. Savannah had been trying to document this dramatic beaver behavior for years. Beavers use tail smacks to alert their family group to a newcomer. Despite the theatrics, beavers usually relax quickly after discovering the newcomer doesn’t pose a threat.
Copyright Savannah Rose / Wildlife Photographer of the Year
Togetherness
 |
Togetherness by Ivan Ivanek, Czech Republic
A striking pair of red-shanked douc langurs are seen mating in the forests of the Sơn Trà peninsula in Vietnam.
Known for their bright red ‘stockings’, these primates are found only in Vietnam, Laos and Cambodia. The species is critically endangered because of habitat loss, hunting and the illegal pet trade. After days observing the area, looking for evidence of the monkeys, Ivan managed to find a small group. Late one evening, he saw these two mating. Compared to other species of monkey he’d seen mating, it was an unexpectedly gradual and graceful affair!
Copyright Ivan Ivanek / Wildlife Photographer of the Year
Concert in the Forest
 |
Concert in the Forest by Vincent Premel, France
A Surinam golden-eyed tree frog puffs out its cheeks as it prepares to call for a mate.
The first rains come in French Guiana after a long dry spell. They’re a release for all wildlife, but especially for amphibians. When it rains, the ponds fill with water. Dozens of species descend from the canopy or come out of the ground. They’re here to lay their eggs in the water, in an event called ‘explosive breeding’. The density of individuals is hard to imagine. It made for a special night for Vincent, who is both a herpetologist and a photographer. The call of the Surinam golden-eyed tree frog is so powerful it can be heard hundreds of meters away.
Copyright Vincent Premel / Wildlife Photographer of the Year
Snuffling Sengi
 |
Snuffling Sengi by Piotr Naskrecki, Poland
A rarely seen four-toed sengi forages for food among the leaf litter in Mozambique.
Sengis mainly eat insects and look for their prey at dusk and dawn. They rely on a combination of good vision and excellent sense of smell to find food. Piotr watched this sengi over several weeks in Gorongosa National Park, Mozambique. It followed the same network of trails every day, looking for beetles and other tasty morsels among the leaf litter. Sengis are extremely shy and skittish, so Piotr set up a remote camera to photograph the little creature sniffing for food.
Copyright Piotr Naskrecki / Wildlife Photographer of the Year
Whiteout
 |
Whiteout by Michel d’Oultremont, Belgium
A stoat sits up and observes its territory as it blends perfectly into a snowy landscape in Belgium.
Michel had been looking for stoats in the snow for many years. The magic of snowfall fascinates Michel every winter. He wanted to take a photograph that showed how the stoats blend in with the whiteness of the landscape. He’d seen a few in Switzerland but never in his native Belgium. Then, finally, his dream came true. He lay in the snow with a white camouflage net covering all but his lens. This curious stoat came out of its snowy hole and sat up from time to time, observing its territory just before setting off to hunt.
Copyright Michel d’Oultremont / Wildlife Photographer of the Year
Earth and Sky
 |
Earth and Sky by Francisco Negroni, Chile
A double lenticular cloud is illuminated at nightfall by the lava emitted from the Villarrica volcano, Chile.
Villarica is in the town of Pucón in the south of Chile. It’s one of the country’s most active volcanoes, and last erupted in 2015. Francisco takes regular trips to Villarrica to monitor its activity. On this visit, he stayed nearby for 10 nights. He says every trip is “quite an adventure – never knowing what the volcano might surprise you with”. Some nights are calm, others furious, as in this photograph, where the brightness of the crater illuminates the night sky.
Copyright Francisco Negroni / Wildlife Photographer of the Year
Fallen from the Sky
 |
Fallen from the Sky by Carlo D’Aurizio, Italy
A collage of dead butterflies and moths trapped by the surface tension of the water floats in a stream in Italy.
It was a summer morning in the San Bartolomeo Valley in the Majella National Park, Italy. Carlo had visited this small stream many times. He expected to see the graceful flight of butterflies and dragonflies along it. He never thought he would find such a still life, a sad collage of dead insects calmly floating in the water. It hadn’t been particularly hot, and there hadn’t been any storms in the previous days. To this day, Carlo has no explanation of why the insects died.
Copyright Carlo D’Aurizio/ Wildlife Photographer of the Year
Spiked
 |
Spiked by David Northall, UK
A bloodied yet determined honey badger returns to finish off a Cape porcupine, which earlier had tried to defend itself.
Found throughout Botswana, honey badgers are famously ferocious. They often chase animals many times their own size. This honey badger got an unpleasant surprise when it attacked the normally nocturnal Cape porcupine. The badger grabbed the porcupine’s right leg. In defense, the porcupine repeatedly backed into its attacker, piercing it with many quills. During a lull in the attack, the porcupine managed to shuffle away, its leg badly damaged. After a short retreat, the bloodied badger returned. It finished off the porcupine under a bush close to the original attack, then dragged it into its underground den.
Copyright David Northall / Wildlife Photographer of the Year
Unsold
 |
Unsold by Jose Fragozo, Portugal
A young cheetah cub hisses while waiting to be sold in Ethiopia.
Captured from her home plains in the Somali Region, she was transported for several days on the back of a camel to the northern coast of Somaliland. Illegal wildlife trafficking is a problem in the Somali Region. Farmers catch and sell cheetah cubs to traffickers, claiming that the cheetahs attack their livestock. Sometimes, the farmers and traffickers cannot sell the cubs immediately. The bigger the cheetahs get, the harder it is to find buyers. Some end up being killed and their parts sold, their bones shipped to Yemen and then to other Asian markets. They are then sold as tiger bones and used to make Chinese bone wine. After hissing at the camera, the cub started chirping, calling out for its mother.
Copyright Jose Fragozo / Wildlife Photographer of the Year
Annoying Neighbor
 |
Annoying Neighbour by Bence Máté, Hungary
A European roller defends its territory from a bemused-looking little owl in Kiskunság National Park, Hungary.
The little owl and the European roller are very different birds, but their nests and feeding requirements are similar. This means they sometimes breed near each other. The male roller makes a sport of annoying other birds that stray into its breeding area during the short mating season. It makes a surprise ambush, flying at full speed behind them. To catch such a fleeting scene, Bence spent 27 days watching from a hide. The little owl seemed nonplussed by the spectacle.
Copyright Bence Máté/ Wildlife Photographer of the Year
Curious Connection
 |
Curious Connection by Nora Milligan, USA
A chimpanzee pauses and looks down as its family moves across the forest floor of Loango National Park, Gabon.
On a trek through the forest, Nora’s guide signaled for the group to stop near the bank of a swamp. They heard the call of a chimp first, then the leaves around them started to rustle and a group of chimpanzees appeared. This family is called the Rekambo group. A group of researchers from the Ozouga Chimpanzee Project is studying them. Nora couldn’t believe her luck when they started to climb the nearby trees. As she peered through her viewfinder, a large male paused and looked down at them. The chimp craned its neck forward and its eyes seemed to widen, as if to get a better look.
Copyright Nora Milligan / Wildlife Photographer of the Year
Meeting in the Marsh
 |
Meeting in the Marsh by Michael Forsberg, USA
A disguised biologist approaches an endangered whooping crane in Louisiana, USA.
Michael has been chronicling the lives of endangered whooping cranes since early 2019. The biologist acted with cat-like quickness to check the bird’s health and change a transmitter that was no longer working. The transmitter helps biologists track these non-migratory birds and learn more about them. This experimental population was reintroduced in Bayou Country in 2011. In the 1940s there were roughly 20 whooping cranes in the region. Since then, numbers have climbed to over 800.
Copyright Michael Forsberg / Wildlife Photographer of the Year
The Brave Gecko
 |
The Brave Gecko by Willie Burger van Schalkwyk, South Africa
A giant ground gecko stands fast against a pale chanting goshawk in Kgalagadi Transfrontier Park, South Africa.
One hunting strategy of the southern pale chanting goshawk is to walk or run on the ground in pursuit of prey. Willie watched as the little lizard put up a brave fight against its large attacker. Unfortunately, there was no hope of survival, but Willie was impressed by the gecko’s bravery.
Copyright Willie Burger van Schalkwyk / Wildlife Photographer of the Year
Forest Dreams
 |
Forest of Dreams by Samuel Bloch, France
A northern giant petrel sits on its nest at the edge of a rātā tree forest on Enderby Island, New Zealand.
Northern giant petrels are large seabirds. They’re used to flying above the waves for weeks without encountering land. Samuel was surprised to find this one in such a woody environment. Like many other seabirds, it breeds on islands where there are fewer predators. Samuel took this image from a distance and left quickly to avoid disturbing the bird.
Copyright Samuel Bloch / Wildlife Photographer of the Year
Edge of Night
 |
Edge of Night by Jess Findlay, Canada
A ghostly barn owl exits the hayloft window of a derelict barn to hunt fields outside Vancouver, Canada.
Combining high-speed and long-exposure photography in a single exposure required a technical setup. First, Jess quietly watched the owl for several nights to understand its habits and plan the shot. He then set up an invisible beam that would trigger a flash when the owl flew out of the barn. Simultaneously, a slow shutter speed gathered ambient light cast on the clouds and barn to complete the scene. On the tenth night, all the moving parts came together as the owl left to begin his hunt.
Copyright Jess Findlay / Wildlife Photographer of the Year
No Access
 |
No Access by Ian Wood, UK
An ambling Eurasian badger appears to glance up at badger graffiti on a quiet road in St Leonards-on-Sea, England, UK.
Residents had been leaving food scraps on the pavement for foxes. But Ian noticed that badgers from a nearby sett were also coming to forage. After seeing a badger walking along the pavement by this wall late one night, he decided to photograph it. He set up a small hide on the edge of the road to take his picture. Only the light from a lamppost illuminated the creature as it ambled along, seemingly glancing up at the badger graffiti just in front of it.
Copyright Ian Wood / Wildlife Photographer of the Year
Drifting Dinner
 |
Drifting Dinner by Noam Kortler, Israel
A decorator crab perches on top of a sea squirt to comb the water for drifting plankton.
Noam took this photograph during a night dive off Komodo Island, Indonesia. The sea squirt provided the crab with the perfect stage to feed on drifting plankton. The crab had camouflaged and armed itself with tiny hydroids known as Tubularia. These can sting other animals and so helped protect the crab from predators. Noam watched the crab gracefully search for food, illuminated by the camera flash as if in a spotlight center stage.
Copyright Noam Kortler / Wildlife Photographer of the Year
The Arrival
 |
The Arrival by Brad Leue, Australia
Floodwaters that have traveled for months surge towards an enormous salt lake in South Australia.
Kati Thanda-Lake Eyre is Australia’s largest inland lake and one of the world’s largest salt lakes. Photographing from a helicopter in strong winds was quite a challenge for Brad. As well as the floodwaters, a dust storm was blowing and rain was falling on the horizon. Floodwaters had traveled more than 1,000 kilometers (1,600 miles). They’d surged steadily from Queensland towards South Australia. Timing was imperative to photograph this once-in-a-decade natural event. Brad’s image shows the water channeling steadily down Warburton Groove. This is the final stretch before entering the mighty lake. On their journey, the waters bring new life to this remarkable desert system and its rare and threatened wildlife.
Copyright Brad Leue / Wildlife Photographer of the Year
-
Solar Energy3 years agoDLR testing the use of molten salt in a solar power plant in Portugal
-
world news1 year ago
Gulf, France aid Gaza, Russia evacuates citizens
-
Camera1 year agoDJI Air 3 vs. Mini 4 Pro: which compact drone is best?
-
Camera4 years agoCharles ‘Chuck’ Geschke, co-founder of Adobe and inventor of the PDF, dies at 81
-
world news1 year ago
Strong majority of Americans support Israel-Hamas hostage deal
-
Camera1 year agoSony a9 III: what you need to know
-
Solar Energy1 year agoGlencore eyes options on battery recycling project
-
TOP SCEINCE8 months agoCan animals count?
