Camera
Is it worth upgrading to the iPhone 16 Pro from a 13, 14, or 15 Pro?
| Image: Apple |
It’s that time of year: Apple has announced its new suite of iPhones, raising the question of whether current owners should upgrade or stick with their older model.
There are many factors to consider – those still using the Lightning port could potentially justify an upgrade for USB-C alone– but we’ll mainly focus on the cameras for this article. This year, more than ever, the price premium on the Pro phones doesn’t make much sense if you’re not using them for photography and videography, so we’ll be trying to answer a straightforward question: will upgrading let you take better pictures?
Note: unlike last year’s models, the iPhone 16 Pro and Pro Max appear to have identical camera setups. We’ll talk a lot about the ‘iPhone 16 Pro’s’ cameras in this article, but anything we say will apply to both size options.
Scenario 1: You have an iPhone 15 Pro
We’ll start by comparing the 16 Pro to the last-generation 15 Pro since it lets us talk about the brand new features that will be an upgrade over the 14 Pro and 13 Pro too. However, we’ll start by saying it’s hard to recommend the year-over-year upgrade unless you have a specific use case that requires the new features.
Even Apple quietly admits this; during the announcement, whenever it compared the iPhone 16 Pro to previous models, it was usually put up against the iPhone 14 Pro instead of its direct predecessor. The iPhone 15 Pro is also the only other phone in Apple’s lineup capable of running all the Apple Intelligence features, which are the main selling point of the iPhone 16 line.
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| Image: Apple |
However, there are still some improvements to be found in the iPhone 16 Pro’s camera system. Apple says that the 16 Pro uses a ‘second-generation’ sensor for its main camera, which can read out data two times faster, ‘enabling zero shutter lag’ even when taking Raw photos.
The 5x, 120mm equiv. camera from the 15 Pro Max is also now available on the regular-sized iPhone 16 Pro, replacing the 3x, 77mm equiv. camera from the 15 Pro. That’s not necessarily a clear win, though. The extra reach may be useful if you often shoot far-away subjects, but it makes it a little bit harder to take portraits; you’ll have to stand further away from your subject if you want to get the classic 80mm portrait framing, which will also compress the foreground and background more. However, if you want a 5x camera in a smaller phone, the 16 Pro is Apple’s first model to offer it.
iPhone 16 Pro cameras vs iPhone 15 Pro cameras
| iPhone 16 Pro / Pro Max | ||||
|---|---|---|---|---|
| Focal length | Pixel count | Sensor size | f/number | Crop factor |
| 24mm equiv. | 48MP / 24 / 12MP | Type 1/1.28 (9.8×7.3mm) | F1.78 | ~3.5x |
| 13mm equiv | 48MP | Type 1/2.55 (5.6×4.2mm) | F2.2 | ~6.2x |
| 120mm equiv | 12MP | Type 1/4 (4.5×3.4mm) | F2.8 | ~10.8x |
| iPhone 15 Pro / Pro Max | ||||
| Focal length | Pixel count | Sensor size | f/number | Crop factor |
| 24mm equiv. | 48MP / 24 / 12MP | Type 1/1.28 (9.8×7.3mm) | F1.78 | ~3.5x |
| 13mm equiv | 12MP | Type 1/2.55 (5.6×4.2mm) | F2.2 | ~6.2x |
| 77mm equiv / 120mm equiv. (Max) | 12MP | Type 1/3.5 (4x3mm) / Type 1/4 (4.5×3.4mm) | F2.8 | ~8.7x / ~10.8x |
There are a few other minor improvements to the 16 Pro’s camera system compared to the 15 Pro’s. It can now shoot 3D-esque Spatial Photos, and Apple has upgraded the Photographic Styles system, which lets you apply different looks to your photos straight out of camera. Previously, they were baked-in, meaning you couldn’t shoot a picture with the ‘Warm’ Photo Style and then change it to the ‘Cool’ or ‘Rich Contrast’ one – now you can.
The 16 and 16 Pro also have slightly larger screens than their predecessors, which makes taking and viewing photos nicer, and the QuickTake video that you can access from the photo mode is now 4K60p instead of 1080p30p.
The most significant changes relate to the iPhone 16’s ultrawide camera and video modes. That brings us to a few reasons you might be able to justify an upgrade.
Scenario 1a: You’re a macro/wide-angle photography enthusiast
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The ultrawide camera used for macro shots now has a much higher-resolution sensor.
Image: Apple |
The iPhone 15 Pro’s 0.5x, 13mm equiv. F2.2 ultrawide camera uses a 12MP, 5.6×4.2mm sensor and produces broadly disappointing photos. While the ultrawide camera on the iPhone 16 Pro appears to be using the same size sensor, it’s now using 48MP quad-Bayer technology.
This will allow for pixel binning, though the real-world effect remains to be seen. Given that the sensor is the same size and will likely bin down to the same resolution, it’s hard to imagine there being much of an improvement in low-light performance, which is where the previous iteration of the camera struggled.
If the 0.5x camera is your favorite, it’s probably worth waiting for the reviews to see how much of a difference the resolution bump makes. We’ll be sure to update this article as soon as we can with some wide-angle comparison shots.
Scenario 1b: You are going to shoot The Weeknd’s next music video with your iPhone
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The Weeknd’s new music video is the latest addition to the Shot On iPhone gallery.
Image: Apple |
The next-generation sensor in the iPhone 16 Pro’s main camera enables a big jump in video performance: it can now shoot 4K footage at 120fps, double the speed of the previous Pro. You can even shoot at 120fps in Apple’s ProRes codec, provided you’re recording to external storage via USB-C.
Apple also claims the 16 Pro has much-improved audio with the addition of a ‘studio-quality’ four-microphone array. The microphones allow for wind noise reduction and some fancy software tricks called ‘Audio Mix’ that enable you to fine-tune how a video’s subjects sound.
As with the iPhone 15 Pro, Apple showed off the 16 Pro’s video prowess by having a famous artist shoot a music video with it. This year, it was The Weeknd, whose video for ‘Dancing in the Flames’ (seen above) was shot with the iPhone 16 Pro, making heavy use of the new slow-motion features. Feel free to judge how the footage fares, though do keep in mind that the video was shot by top-tier professionals using thousands of dollars of lighting and grip equipment.
Scenario 1c: You can’t live without the Camera Control
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| Image: Apple |
We get it: new buttons are exciting, especially when they’re providing a new function. Apple’s new Camera Control button promises to let you launch the camera from anywhere, will act as a shutter button once you’ve opened the app, and you can slide your finger across it to adjust parameters like the focal length or aperture.
Apple also promised to improve the button via a software update that will make it act like a traditional shutter button that locks focus and exposure with a half press, and takes a picture with a full press. The Camera Control will also be available for third-party developers, so you may get some milage out of it even if the default iOS camera app isn’t your go-to.
There will be some people who call the Camera Control a gimmick, and who say that there’s no way it’d be worth upgrading from a perfectly good phone that’s only year old for it. And sure, it’s possible it won’t end up being very useful because of its placement, or its relatively complicated control scheme, which mixes gentle taps and press with swipes.
But if it actually improves the ergonomic experience of taking pictures with an iPhone, it could a real nice-to-have – though it’s up to you whether it’s ‘immediately upgrade’ compelling, or ‘look forward to it the next time you get a new phone’ compelling.
Scenario 2: You have an iPhone 14 Pro
The iPhone 14 Pro introduced the 48MP, 9.8×7.3mm quad-bayer sensor that Apple has iterated on for the iPhone 16 Pro, but that doesn’t mean that there haven’t been improvements in the past two years. The 16 Pro’s faster readout speeds should provide the same speed boost compared to the 14 Pro as they did to the 15 Pro.
The lenses on the 16 Pro’s cameras also have a variety of coatings not found on the 14 Pro, and, similar to the 13 Pro, the 14 Pro is stuck with the slower Lightning port instead of the near-universal USB-C one found on the 16 Pro.
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The 16 Pro can shoot slow-mo ProRes 4K. The 14 Pro can’t. (The 128GB 14 Pro can’t shoot ProRes 4K at all; it’s limited to 1080p.)
Image: Apple |
For the main camera, many of the iPhone 16 Pro’s upgrades lie in software, not hardware. The 14 Pro can only shoot 4K ProRes at 30fps, which rules out the possibility of using it for slow motion like you can with the iPhone 16 Pro’s 120fps 4K mode. The 16 Pro also has a ‘next-generation’ portrait mode, which Apple says offers ‘2x better low-light performance.’ Given that the iPhone 16 Pro’s camera hardware isn’t taking in any more light, that’s almost certainly down to changes in how it handles multi-shot photography.
By default, the 16 Pro will also bin images to 24MP, versus the 12MP that’s the only option for the 14 Pro. You also no longer have to shoot in ProRaw to capture a 48MP image, as the 16 Pro has a ‘HEIF Max’ mode that offers compressed images with higher resolution. (Do note that it’s not available in all modes, though; night mode and flash photos are still binned to 12MP.)
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The ultrawide camera is one of the iPhone 16 Pro’s most notable upgrades.
Image: Apple |
The iPhone 16 Pro’s other lenses have more notable improvements. The iPhone 14 Pro’s ultrawide camera is the same as the one found on the iPhone 15 Pro, so any jump in quality provided by the 48MP sensor will apply here as well.
The 16 Pro’s telephoto lens also has a larger sensor, and tighter focal length; the 14 Pro’s 3x (77mm equiv.) camera has a 4x3mm sensor, where the 16 Pro’s 5x (120mm equiv.) camera bumps that up to 4.5×3.4mm – a 27.5% increase. Both cameras produce 12MP images, and have F2.8 lenses.
iPhone 16 Pro cameras vs iPhone 14 Pro cameras
| iPhone 16 Pro / Pro Max | ||||
|---|---|---|---|---|
| Focal length | Pixel count | Sensor size | f/number | Crop factor |
| 24mm equiv. | 48MP / 24 / 12MP | Type 1/1.28 (9.8×7.3mm) | F1.78 | ~3.5x |
| 13mm equiv | 48MP | Type 1/2.55 (5.6×4.2mm) | F2.2 | ~6.2x |
| 120mm equiv | 12MP | Type 1/4 (4.5×3.4mm) | F2.8 | ~10.8x |
| iPhone 14 Pro / Pro Max | ||||
| Focal length | Pixel count | Sensor size | f/number | Crop factor |
| 24mm equiv. | 48MP / 12MP | Type 1/1.28 (9.8×7.3mm) | F1.78 | ~3.5x |
| 13mm equiv | 12MP | Type 1/2.55 (5.6×4.2mm) | F2.2 | ~6.2x |
| 77mm equiv | 12MP | Type 1/3.5 (4x3mm) | F2.8 | ~8.7x |
Overall, the 16 Pro’s cameras are iterative improvements over the 14 Pros. However, if you take tons of images on your phone or are serious about video, there’s probably enough there for you to notice a difference. If you’re more of an occasional shooter, though, it may be worth sitting this one out.
Scenario 3: You have an iPhone 13 Pro
If you have an iPhone 13 Pro or one of its predecessors, the 16 Pro’s cameras should be an upgrade in pretty much every way. The 13 Pro has a 12MP F1.5 main camera, while the 16 Pro bumps the resolution up to 48MP. While its F1.78 lens is slower, its 9.8×7.3mm sensor also has 65% more area versus the 13 Pro’s 7.6×5.7mm sensor – that equates to around 0.3EV more light gathering ability, even with the brighter aperture.
That extra resolution enables a lot of camera features on the 16 Pro that the 13 Pro doesn’t have. The most obvious is the pixel-binned 12MP or 24MP shots, as well as the 48MP ProRaw mode. It also allows for the 24mm, 28mm, and 35mm ‘faux-cal’ lengths for the main camera, which work by taking different crops off the sensor. The iPhone 13 Pro also lacks the ‘2x’ option, which crops in to the 12MP middle section of the sensor.
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The 16 Pro’s main camera is a notable improvement from the 13 Pro’s.
Image: Apple |
The ultrawide and telephoto cameras also use larger sensors, and the 16 Pro’s 5x camera offers a 120mm equiv. focal length compared to the 13 Pro’s 3x 77mm equiv.
The iPhone 16 Pro also includes the latest iterations of Apple’s image stabilization and HDR systems, though the company hasn’t said much about what benefits they offer over the predecessors found on the iPhone 13 Pro.
iPhone 16 Pro cameras vs iPhone 13 Pro cameras
| iPhone 16 Pro / Pro Max | ||||
|---|---|---|---|---|
| Focal length | Pixel count | Sensor size | f/number | Crop factor |
| 24mm equiv. | 48MP / 24 / 12MP | Type 1/1.28 (9.8×7.3mm) | F1.78 | ~3.5x |
| 13mm equiv | 48MP | Type 1/2.55 (5.6×4.2mm) | F2.2 | ~6.2x |
| 120mm equiv | 12MP | Type 1/4 (4.5×3.4mm) | F2.8 | ~10.8x |
| iPhone 13 Pro / Pro Max | ||||
| Focal length | Pixel count | Sensor size | f/number | Crop factor |
| 26mm equiv. | 12MP | Type 1/1.7 (7.6×5.7mm) | F1.5 | ~4.6x |
| 13mm equiv | 12MP | Type 1/3.5 (4x3mm) | F1.8 | ~8.7x |
| 77mm equiv | 12MP | Type 1/3.5 (4x3mm) | F2.8 | ~8.7x |
The 16 Pro has several video features not found on the 2021 model, such as Apple Log, Spatial Video, the super-stabilized ‘Action Mode,’ and access to 60 and 120fps frame rates when shooting 4K. And if you’re shooting a lot of video and want to offload it to a computer, the iPhone 16 Pro will offer a much better experience; its USB-C port can transfer files at 10Gbit per second. That’s 20 times faster than the USB 2.0 speeds that the 13 Pro’s Lightning port provides.
Outside of the camera, the 16 Pro has a lot of quality-of-life improvements. To name a few, there’s satellite SOS, tougher front glass, faster charging, an always-on-display and both the Action button and the new Camera Control button. It’s also 5g lighter despite being physically larger because its frame is made of aluminium and titanium instead of stainless steel.
None of this is to say that you must upgrade your iPhone 13 Pro. In fact, two of the winning photos from this year’s iPhone Photography Awards were shot with an iPhone 13 or 13 Pro. If you’re happy with your phone, by all means keep using it. However, if you do feel ready for an upgrade the iPhone 16 Pro should offer enough features and camera improvements to make it well worth it.
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Canon EOS 20D and 17-40mm F4 L lens | ISO 100 | 3.2 sec | F4
Photo: Dale Baskin |
The theme for our December Editors’ photo challenge is ‘Happy Holidays’.
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-inspired photos.
For this challenge, submit one or more photos that embody this month’s theme. Each person can enter up to two photos.
How it works
DPReview editors will review every photo you submit to an Editors’ Challenge. We’ll publish our favorites in a gallery on the DPReview homepage at the end of the month.
Submissions will open on Sunday, December 1st, and you have until Saturday, December 7 (GMT) to submit entries. User voting will begin once submissions close and will help inform DPReview Editors’ picks, but will not select them. They are one factor in our evaluation. Visit the December Editors’ Challenge page to see the full details.
While you’re at it, don’t forget to check out some of the other open and upcoming challenges hosted by members of the DPReview community. Or, see some of the great photos from recently completed photo challenges.
Open challenges:
- Close-up/Macro – Bugs (New Shots Only) (closes Dec. 28)
Upcoming challenges:
- Fortnight 39: My Best Non-bird Photo Shot after 2024-11-11 (opens Nov. 25)
- The Triumph (opens Nov. 28)
- Close-up/Macro – Bugs (2024 Shots Only) (opens Nov. 29)
Click here to see the December challenge details
| Images: Angelbird, 3 Legged Thing, Peak Design |
Happy weekend, everyone! It’s been a busy week here at DPReview, covering the launch of the Sony a1 II, but we’ve still found some accessories worth taking a look at. But first, as always, let’s check out the deals.
It’s almost time
Next week, the US is celebrating Thanksgiving, which is shortly followed by the traditional shopping days of Black Friday and Cyber Monday. Many brands have already started their sales, so there’s plenty of discounts to be had. Next week we’ll be putting out an article rounding up some of the best prices on our favorite gear, so stay tuned for that.
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| Photo: Richard Butler |
In the meantime, Nikon’s at it with the sales again. The company’s latest full-frame camera, the Z6III, can be had for $200 off. When we reviewed it earlier this year, we were impressed by its versatility and capability for shooting both stills and videos.
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| Photo: Dan Bracaglia |
What’s that? You’re not impressed by a mere $200 off? Fair enough. You can still get the Nikon Z8 for $500 off list, but the real jaw-dropper is the Nikon Z7 II, which is available for a full $1,000 off MSRP. It’s a decidedly last-gen camera at this point and doesn’t feature the company’s latest autofocus tech that impressed us so much in the Z8 and Z6III, but if you’re looking for a high-res full-frame camera to shoot landscapes with, it’s hard to imagine that you’ll find something better for $2,000.
Get outdoors
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| Image: Peak Design |
A few months ago, Peak Design announced a new lineup of outdoor-focused camera bags, made of durable, weather-resistant materials and designed to be comfortable to wear on long excursions through varied terrain while carrying the gear you need to get the perfect landscape shot.
Previously, the bags – two backpacks and two slings – were available to preorder on Kickstarter, but they’re now available to buy via normal retail channels. If you want to learn more about the bags, be sure to check out our full article on them here.
Beautiful card readers
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Red is CFexpress type A, blue is SD, and yellow is CFexpress type B.
Image: Angelbird |
Angelbird, a company best known for its SSDs and memory cards, has released a new lineup of card readers called the PKT series. As the “pocket” name implies, they’re meant to be carried around; the USB-C port on them is recessed to reduce wear and tear, the card slot has a cover to prevent dust or lint from building up in them and they have a write protection switch that can help prevent accidental data deletion or formating.
There are three models: one for SD cards, which can transfer data at 5 Gbps, and CFexpress type A and B models, which both run at 20Gbps through a USB-C 3.2 Gen 2×2 connection.
The PKT readers certainly aren’t cheap – each one costs around $100 – but they sure do look nice. They’re made out of aluminum, which you can get engraved with custom text for no extra cost, and each one features a distinctive splash of color so you can tell which reader you’re grabbing at a glance. They also include a three-year warranty and a 32 cm (12.6″) USB 4 cable.
| SD reader |
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| CFexpress type A reader |
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| CFexpress type B reader |
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Rig out your iPhone 16
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PolarPro’s iPhone case lets you add accessories without having to use an entire cage
Image: PolarPro |
Filter and camera accessory company PolarPro has updated its ‘LiteChaser’ iPhone case lineup to support Apple’s latest phones and add even more attachment options, including a set of effects lenses that can be used with your phone’s main camera.
There are a few case options; the base one lets you attach filters and lenses and comes with a removable grip with two 1/4-20 threads and a cover that can flip down to protect your phone’s cameras, while the ‘ProCase’ includes all that plus a cold-shoe mount that you can use to add even more mounting points to your phone. For those who like using their phone without a case, there’s an easily removable ‘EXO’ backplate that attaches via MagSafe and gives you a slot to add filters and lenses.
The company sells a variety of specially made filters for the system, including a 2-5 variable ND, a black mist filter, and a circular polarizer, as well as an adapter that lets you use standard 67mm screw-on filters. The filters it made for the iPhone 15 version of the case are also forward-compatible, so you can still use them if you’ve upgraded your phone.
3 Legged Microphone
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| Image: 3 Legged Thing |
3 Legged Thing’s latest product isn’t a tripod or other apparatus to mount a camera; instead, it’s a set of clip-on lavalier microphones that you can use to record – you guessed it – three people at once. The company pitches the system, called the ‘Str3amcase’ towards content creators and videographers doing interviews, livestreams, or vlogs.
The kit comes with two transmission modules and one receiver module, which can also pull double-duty as a microphone, though given the lack of onboard recording you’ll have to find a way to discretely run a cable off it. If you don’t need to record a third person, you can clip it to a camera’s shoe mount instead of a collar and use its 3.5mm jack to output audio. You can also connect it to a phone via USB-C.
The transmission modules have their own clips, but can also be magnetically attached to things as well. If you’d rather not use the built-in microphones, you can also attach a lavalier to them via a 3.5mm jack.
The two transmitter modules and receiver module nestle into a charging case that’s powered via USB-C.
Wildlife Photographer of the Year winners
The 11th annual International Landscape Photographer of the Year competition has announced the winners of its 2024 awards, showcasing stunning imagery from around the world. Photographers competed in various categories, including the coveted Landscape Photographer of the Year, requiring a portfolio of at least four images, and Landscape Photograph of the Year, recognizing the power of a single captivating shot.
This year’s competition saw Canadian photographer Andrew Mielzynski, an amateur with a deep connection to the natural environment, claim the top prize for his portfolio of stark images with simple color palettes. Ryohei Irie from Japan captured the Landscape Photograph of the Year award with a mesmerizing image of fireflies illuminating a forest.
Beyond the overall winners, the competition presented awards in specific categories, including Black and White, Aerial, Snow and Ice, and Forest, along with at-large winners. In addition to the overall and category winners, we’ve included several of our favorite photos from the 202 photographs recognized this year. You can visit the competition’s website to see all the winning images or to download its 2024 eBook.
Landscape Photographer of the Year: 1st place
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Photographer: Andrew Mielzynski, Canada
Subject and location: Cono de Arita in the Salar de Arizaro, Atacama Desert in Argentina
Description: The Cono is a perfectly cone-shaped volcano at 3,690 meters above sea level. It’s very graphic due to the contrast between the dark, perfectly formed cone and the bed of white salt that is found at its base.
Copyright Andrew Mielzynski / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 1st place
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Photographer: Andrew Mielzynski, Canada
Subject and location: Winter Cottonwoods, Toronto, Ontario, Canada
Description: During the pandemic, I went out for a walk at a local park during a fierce winter storm. I ran across this scene. It seemed very chaotic, with many layers of trees. I loved how the snow, driven by high winds, was embedded into the bark of the trunks. The snow on the bark created a textural contrast that adds detail and interest to the trees. I took a few frames, trying to simplify the scene in front of me and settled on this one, loving the tones, the depth, the order and the minimalism. Even in a chaotic scene, there seems to be a sense of balance that feels orderly and pleasing.
Copyright Andrew Mielzynski / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 1st place
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Photographer: Andrew Mielzynski, Canada
Subject and location: Found in a roadside ditch near Heathcote, Ontario, Canada
Description: After a melt, we had a flash freeze with extremely cold temperatures and a clear blue sky. I was driving by a ditch on the side of a road that had been filled with water and had to stop and look (as we photographers do, can’t pass a ditch without investigating). This is what I found. Great textures and patterns, tones and flow, with lovely graphic lines creating a dynamic, abstract designs. I love this type of work – it’s so much fun, yet challenging to find just the right composition.
Copyright Andrew Mielzynski / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 2nd place
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Photographer: Ignacio Palacios, Australia
Subject and location: Pumice Field, La Puna, Argentina
Copyright Ignacio Palacios / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 2nd place
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Photographer: Ignacio Palacios, Australia
Subject and location: Seven Colors Mountain, Siloli Desert, Bolivian Altiplano
Copyright Ignacio Palacios / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 2nd place
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Photographer: Ignacio Palacios, Australia
Subject and location: Arita Cone, La Puna, Argentina
Copyright Ignacio Palacios / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 3rd place
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Photographer: Gheorghe Popa, Romania
Subject and location: Early Autumn, Vânători Neamț Natural Park, Romania
Copyright Gheorghe Popa / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 3rd place
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Photographer: Gheorghe Popa, Romania
Subject and location: Poisoned Beauty, Geamăna, Apuseni Mountains, Romania
Copyright Gheorghe Popa / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 3rd place
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Photographer: Gheorghe Popa, Romania
Subject and location: Whispers of the Sunken Trees Cuejdel Lake, Romania
Copyright Gheorghe Popa / The International Landscape Photographer of the Year
Landscape Photograph of the Year: 1st place
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Photographer: Ryohei Irie, Japan
Subject and location: Traces of Light, Ichinomata, Yamaguchi Prefecture, Japan
Description: The Landscape Photograph of the Year Award went to Ryohei Irie of Japan. He likes the mysterious atmosphere created by the standing dead trees and firefly light. “I have been visiting this Subject and location for several years during the firefly season, and it is an interesting place because the intensity and length of the firefly light and the Subject and location where the fireflies fly vary greatly, depending on the year and time of day, resulting in completely different works, even when photographed in the same way.”
Copyright Ryohei Irie / The International Landscape Photographer of the Year
Landscape Photograph of the Year: 2nd place
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Photographer: Justinus Sukotjo, Indonesia
Subject and location: Mother Care Framing, Walakiri Beach, Sumba Island, Indonesia
Copyright Justinus Sukotjo / The International Landscape Photographer of the Year
Landscape Photograph of the Year: 3rd place
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Photographer: Himadri Bhuyan, India
Subject and location: The Flow, Sohra, Meghalaya, India
Copyright Himadri Bhuyan / The International Landscape Photographer of the Year
The Black and White Award
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Photographer: J. Fritz Rumpf, United States
Award: The Black and White Award 2024
Subject and location: White Tie Affair. Death Valley National Park, California, USA
Copyright J. Fritz Rumpf / The International Landscape Photographer of the Year
The Aerial Award
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Photographer: Benjamin Barakat, Switzerland
Award: The Aerial Award 2024
Subject and location: The Final Dune, Namibia
Copyright Benjamin Barakat / The International Landscape Photographer of the Year
The Snow and Ice Award
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Photographer: Jeroen van Nieuwenhove, Iceland
Award: The Snow and Ice Award 2024
Subject and location: Isþyrlu – Ice Swirl, Scoresbysund, Greenland
Copyright Jeroen van Nieuwenhove / The International Landscape Photographer of the Year
The Forest Award
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Photographer: Shirley Wung, Taiwan
Award: The Forest Award 2024
Subject and location: Fireflies flying in the Misty Mountains, Wufeng Township, Hsinchu, Taiwan
Copyright Shirley Wung / The International Landscape Photographer of the Year
The Exciting Sky Award
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Photographer: Federico Delucchi, Italy
Award: The Exciting Sky Award 2024
Subject and location: Aurora, meteor shower and other cool stuff, Rocca la Meja, Italy
Copyright Federico Delucchi / The International Landscape Photographer of the Year
Other top entries
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Photographer: Laura Bennet, United States
Subject and location: Sumba Island, Indonesia
Copyright Laura Bennet / The International Landscape Photographer of the Year
Other top entries
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Photographer: William Preite, Italy
Subject and location: Pale di San Martino, Falcade, Dolomites, Italy
Copyright William Preite / The International Landscape Photographer of the Year
Other top entries
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Photographer: Siegfried Makedanz, Germany
Subject and location: Sandfellsjökull Glacier Lagoon, Southern Iceland
Copyright Siegfried Makedanz / The International Landscape Photographer of the Year
Other top entries
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Photographer: Sabine Weise, Germany
Subject and location: Moonscape Overlook, Utah Badlands, USA
Copyright Sabine Weise / The International Landscape Photographer of the Year
Other top entries
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Photographer: Yuriy Vantowski, United States
Subject and location: Mount Bromo, East Java, Indonesia
Copyright Yuriy Vantowski / The International Landscape Photographer of the Year
Other top entries
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Photographer: Tanay Das, India
Subject and location: Kistwa, Himalaya, Jammu and Kashmir, India
Copyright Tanay Das / The International Landscape Photographer of the Year
Other top entries
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Photographer: Rajesh Jyothiswaran, United States
Subject and location: Texas, United States
Copyright Rajesh Jyothiswaran / The International Landscape Photographer of the Year
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