X100 Series Marks International Debut with Stunning Pro Photography and Superior Performance

X100 Series Marks International Debut with Stunning Pro Photography and Superior Performance

vivo X100 and X100 Pro feature an upgraded vivo ZEISS Co-engineered Imaging System for pro-level photography on a smartphone and deliver superior performance with Dimensity 9300, a customized imaging chip and enhanced battery capacity.

SHENZHEN, China, Dec. 14, 2023 /PRNewswire/ — vivo today announced the international debut of X100 and X100 Pro, the company’s flagship smartphone lineup built to deliver professional photography capabilities and powerful performance. The new X100 series brings significant upgrades to the vivo ZEISS Co-engineered Imaging System inside and out. vivo X100 Pro introduces the versatile ZEISS APO Floating Telephoto Camera, a ZEISS 1-inch Main Camera, and supports 4K Cinematic Portrait Video for stunning, cinema-like video quality. vivo worked closely with MediaTek to define the flagship SoC experience for X100 series. Both models come with the powerful Dimensity 9300 and a customized imaging chip[i], paired with enhanced battery capacity for smooth performance.

Continuing the X series legacy with even more powerful camera features 

The new vivo X100 series introduces game-changing innovations in collaboration with ZEISS, equipping users with the hardware and software to capture highly precise photography in all scenarios, specifically targeting challenges in long-range and close-focus shooting.

X100 Pro features a 50MP ZEISS 1-inch Main Camera, a 50MP ZEISS APO Floating Telephoto Camera and a 50MP Super Wide-Angle Camera. The powerful ZEISS APO Floating Telephoto Camera comes with new Vario-Apo-Sonnar standards from ZEISS for excellent close-up and long-distance shots. It also adopts a Floating Elements Design, which sets a new benchmark with an unprecedented f/2.5 aperture to ensure high image quality in various scenarios, even from 6X to 10X. The X100 Pro is the first mobile imaging system in the world to achieve APO certification. The lens significantly reduces chromatic aberration and associated image clarity issues.

Adding to image quality, Optical Precision Calibration ensures the main camera on X100 Pro delivers consistent image sharpness and quality. The experience is rounded out with SLR-level image stabilization on the main camera.

The X100 comes with a 50MP VCS True Color Main Camera, a 64MP ZEISS Telephoto Camera, and a 50MP Super Wide-Angle Camera. Both X100 and X100 Pro have certified compliance with ZEISS T* Coating, an advanced anti-reflective coating technology that significantly increases light transmittance and helps accurately reproduce colors while reducing light reflection, enabling users to capture clear images even in complex light conditions.

The X100 series has also been optimized for industry-leading capabilities in sunset and sunrise photography, supported by the telephoto hardware and upgraded vivo Origin Imaging Engine. Bringing upgrades to image quality, color tone, and computing processes, vivo Origin Imaging Engine aids in sunset or sunrise photography by identifying specific red-sun scenarios and capturing the scene accurately.

Improved portrait and night photography supported by dual flagship chip processing  

The groundbreaking mobile photography features go beyond hardware specs to enable users to capture, create, and edit professional grade images and videos on the go. Upgrades have been made to portrait and night shooting capabilities, alongside new additions to the signature ZEISS bokeh effects.

X100 Pro is supported by the customized vivo V3 Chip, which adopts 6nm process with 30% increase in energy efficiency ratio, leading to advanced upgrades in portrait videography. X100 Pro brings the all-new 4K Cinematic Portrait Video, an X series first, ideal for users who want to capture and edit creative video content effortlessly on their smartphone. With this powerful feature the focus shifts automatically and tracks the subject during filming, creating a more cinematic feel. Users can also take advantage of the new 4K Cinematic Portrait Video feature to apply ZEISS Cinematic Video Bokeh style. Post-editing of 4K Cinematic Portrait videos is also available in the Album, allowing users to easily fine-tune the bokeh effects and styles.

X100 and X100 Pro carry on the X series’ pursuit of making professional-level photography possible on a smartphone, this time bringing a whole new take on portraits. For the first time in the X series, vivo introduces ZEISS Multifocal Professional Photography, allowing users to take professional portraits with focal lengths up to 100mm, perfect for travel photography, artistic photography or simply capturing joyful moments at home. Adding more creative options, X100 series introduces ZEISS B-Speed Style Bokeh, the newest addition to ZEISS Style Portrait package. ZEISS B-Speed Style Bokeh creates a distinctive circular triangular bokeh effect inspired by ZEISS classic high-speed cine lens from the mid-1970s.

Superior experience with powerful performance upgrades and larger battery

X100 and X100 Pro come with a Dual Flagship Chip featuring a vivo customized imaging chip and Dimensity 9300. X100 is engineered with the vivo V2 Chip and X100 Pro with the latest vivo V3 Chip. Dimensity 9300 boasts a flagship octa-core CPU offering a massive leap in performance compared to its predecessor.

X100 and X100 Pro, backed by vivo’s customized imaging chips, offer Game Frame Interpolation for smooth gaming experience. X100 Pro goes a step further with Game Super Resolution offering superior visual experience.

The X100 series successfully balances large capacity battery with fast charging through three key industry breakthroughs: Negative Electrode Graphite Reconstruction technology, Electrode Cold Press Technique, and Micrometer Laser Array Etching Process — ultimately reaching an 8.3% increase in overall energy density compared to previous generations. X100 is equipped with an equivalent 5,000mAh (TYP) large battery and supports up to 120W Dual-Cell FlashCharge; X100 Pro comes with an equivalent 5,400mAh (TYP) large battery and supports wireless FlashCharge[ii] and up to 100W Dual-Cell FlashCharge.

The X100 series comes with LTPO Eye Protection Display and introduces Dual Engines for Video Enhancement, elevating the viewing experience. Furthermore, a vivo-exclusive V Frame Rate Management System helps dynamically adjust the refresh rate based on the finger sliding speed and renders frame rates per layer, ensuring smooth experience while reducing power consumption. Featuring a larger always-on display area, the display can reach a local peak brightness of up to 3,000 nits, which ensures the content on the screen remains visible even under bright sunlight.

The X100 series comes equipped with the latest Funtouch OS 14, which enhances the user experience further by providing smoother performance, greater personalization, and improved security. The new operating system introduces several features such as the RAM Saver, which optimizes background processes, Mini Window for effortless multitasking and Motion Blur for smoother visual transitions.

Premium design for quiet luxury and durability

The X100 lineup continues the iconic sleek, stylish and lightweight design aesthetics of X series. A ring around the camera module resembling a halo is the key design element reflecting Sun Halo and Moon Halo Design. Made of aerospace-grade stainless steel, the halo adds a touch of minimalist luxury, with sunburst texture resembling high-end mechanical watches. At the same time, the material used ensures durability — it is wear-resistant, high-temperature resistant, and corrosion-resistant. For additional peace of mind, all models in the series are IP68 rated for water and dust resistance. The X100 Series comes in a dreamy Startrail Blue and an Asteroid Black theme[iii].

About vivo

vivo is a technology company that creates great products based on a design-driven value, with smart devices and intelligent services as its core. The company aims to build a bridge between humans and the digital world. Through unique creativity, vivo provides users with an increasingly convenient mobile and digital life.

While bringing together and developing the best local talents to deliver excellence, vivo is supported by a network of R&D centers including Shenzhen, Dongguan, Nanjing, Beijing, Hangzhou, Shanghai and Xi’an, focusing on the development of state-of-the-art consumer technologies, including 5G, artificial intelligence, industrial design, photography and other up-and-coming technologies. vivo has also set up an intelligent manufacturing network (including those authorized by vivo), with an annual production capacity of nearly 200 million smartphones. As of now, vivo has branched out its sales network across more than 60 countries and regions, and is winning more than 500 million users worldwide with its superior products and services.

Following the company’s core values, which include Benfen*, user-orientation, design-driven value, continuous learning and team spirit. vivo has implemented a sustainable development strategy, with the vision of developing into a healthier, more sustainable world-class corporation.

*”Benfen” is a term describing the attitude on doing the right things and doing things right – which is the ideal description of vivo’s mission to create value for society.

Stay informed of latest vivo news at https://www.vivo.com/en/about-vivo/news   

[i]  X100 comes with vivo V2 chip, while X100 Pro comes with vivo V3 chip.

[ii] Paired with vivo’s second-generation official 50W vertical wireless charger, X100 Pro supports up to 50W wireless FlashCharge. The official wireless charger needs to be purchased separately. For the availability, please contact the local sales for detailed information.

[iii] Color availability may vary across markets.

SOURCE vivo

Ho-Chunk Centre galleries showcase Native American artists

Ho-Chunk Centre galleries showcase Native American artists

SIOUX CITY — When SunRose IronShell was growing up in Denver, she accompanied her mother to college classes at Iliff School of Theology. While her mother learned, the 10-year-old sat quietly in a corner coloring for hours. 

Today, IronShell’s dining room serves as her studio. It’s where the contemporary artist and designer creates ledger art — narrative drawing or painting on antique paper from discarded record-keeping books. 

IronShell, who is Sicangu and Oglala Lakota of the Titowan Band of the Oceti Sakowin, said there are “a lot of layers” to her artwork, which she makes with colored pencils, acrylic paint, watercolor markers and gold leafing pen. Each of her pieces tells a story. 

“I’m fighting against a mentality where people think we don’t exist,” IronShell said of Native Americans.



New Artist Showcase

Artist SunRose IronShell talks about her art during an interview at Gallery 103 located in the Ho-Chunk Centre in downtown Sioux City. Behind her are her pieces “Elk Rawhide Parflech Inspired Corset” and “Golden Hour.” IronShell is one of five Native American artists being featured at Gallery 103 and the adjacent 3 Rivers Art Gallery as a part of the galleries’ new artist showcase on Friday.




IronShell, who moved to Sioux City during the pandemic, is one of five Native American artists whose work is being celebrated in a “New Artist Showcase” Friday at Gallery 103 and 3 Rivers Art Gallery in the Ho-Chunk Centre. The works of IronShell, Henry Payer, Ed Encinas, Ernest Ricehill and Savannah Anderson, join those of Tani Russell, another local Native American artist whose photography and encaustic artwork has been displayed at Gallery 103 for a couple of years. Both galleries are seeking to increase the diversity of artists being spotlighted. 

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“It’s inspired by the fact that there are five new artists in our shared galleries; and it’s exciting, because the five new artists are all Native American artists,” Terri Parish McGaffin, a Gallery 103 artist, said of the showcase. “This is a way for us to acknowledge Native American Heritage Month, but also feature their artwork, which is unique.”

IronShell said she draws inspiration from the works of the late Oscar Howe, who was a renowned Yanktonai Dakota painter and longtime University of South Dakota professor. 

“A lot of his pieces were very breaking the mold in being contemporary with that cubist-type of movement. With my pieces, I’m using the lines of the paper, the grid of the ledger paper to create those different blocks or squares,” IronShell explained. 

In “Born of a Star” IronShell tells the origin story of her people with geometric shapes and dentalium shells, which were associated with wealth and used as a popular dress embellishment, as well as a source of trade on the prairie.

“Our DNA has those star particles. We come from the stars. We’re a star nation. We come from a cave. So, after the moon smashed into the earth, we were microorganisms and, then, eventually, we come out,” she said. “But as human beings we came out of a cave; and they say that’s in Minneapolis.”



New Artist Showcase

Artist SunRose IronShell talks about her art during an interview at Gallery 103 located in the Ho-Chunk Centre in downtown Sioux City. Behind her are works by artist Ed Encinas. IronShell and Encinas, are two of five Native American artists being featured at Gallery 103 and the adjacent 3 Rivers Art Gallery as a part of the galleries’ new artist showcase on Friday.




IronShell said she was thinking about the issue of abortion while creating “The Portal is Opening, Thamni.” The Lakota word for womb is “thamni.”

“At first, it didn’t start out as a womb. I had initially done these circles. These circles are really prominent in the design,” IronShell said as she stood by the framed ledger artwork, which hung on a wall just inside the main entrance of Gallery 103. “The womb, they call this a portal to another world.” 

Art as an escape 

Plains Indian men traditionally painted winter counts, pictorial calendars or histories, on bison hides. IronShell likened the images they painted to a mnemonic device that “triggers your memory to tell a story.”

However, in the late 1800s, the Plains Indians were forced to use ledger books as their canvases, instead of the hides, amid a mass slaughter of bison herds by white settlers. By the close of the 19th century, bison had been hunted almost to extinction.

“When these (ledger) papers were being made in the 1800s, there was a lot of illegalization of our people. We couldn’t sing. We couldn’t dance. We couldn’t do our ceremonies. We couldn’t even wear our clothes,” IronShell said. “A big part of why we switched from the hides to the paper was also because of the extermination of the buffalo. The United States government sent out the ammunition and everything. One dead buffalo, they said, was like one dead Indian. If you kill a buffalo, you kill an Indian. So, now, we don’t have any hides. We have to use canvas and the ledger paper.”

Most of the ledger paper IronShell uses in her artwork comes from old businesses. Finding it can be difficult and the books are often costly, but IronShell has had success locating it at antique shops and, sometimes, on eBay. 

“The quality of the papers are just so much thicker. They actually have those cotton fibers and linen fibers. The color of the colored pencils are supposed to come out more vibrant,” she said. 



New Artist Showcase

Artist SunRose IronShell talks about her art during an interview at Gallery 103 located in the Ho-Chunk Centre in downtown Sioux City. Behind her is her piece, “The Portal is Opening, Thamni.” IronShell is one of five Native American artists being featured at Gallery 103 and the adjacent 3 Rivers Art Gallery as a part of the galleries’ new artist showcase on Friday. 




IronShell has her eye on stacks of ledger books containing Sioux City Police Department logins. She said she could make “really awesome designs” by utilizing the stamps on the pages. The books also lead her to think about how law enforcement treated Native Americans back in in the 1800s. The Sioux City Police Department was founded in 1857.

“It’s really interesting to think, what was the timeframe? What were Indians doing? And, then, now, how do I thrive?” said IronShell, who said she wants to “reclaim” that era. “I touched all those police ledger books, because that was like counting coup.”

Ledger art is “prisoner of war art,” according to IronShell. She said reservations are considered “prisoner of war camps.” Since IronShell is still linked with the reservation, she said she is “still a prisoner of war,” citing the ongoing erasure of Native Americans — monetary sanctions, persistent stereotypes and underrepresentation in society. 

“I do art as my escape from all those issues. At the end of the day, I can’t solve all those issues. We can just talk about it. But you have something pretty on your wall that makes you feel good,” she said. 

Meet the other new artists 

Savannah Berlyn Anderson (Ricehill), a Winnebago Tribal member, grew up on Omaha Indian Reservation. Her passion for photography was kindled at age 11, when her father gifted her her very first camera. 

“I am dedicated to capturing meaningful photographs that possess the power to transform lives,” she said. “Whether I’m documenting the untold stories of my tribe, preserving the ephemeral beauty of nature, or striving to make a difference through my lens, I am driven by the belief that photography has the ability to shape perceptions, influence hearts, and spark meaningful conversations.”

Ed Encinas, of the Omaha Nation, is a ledger artist, muralist, craftsman and traditional Hethuska dancer. He teaches high school art and beginning band at UmoNhoN Nation Public School.

Encinas takes the ledger art form in new directions with paintings on old checks, sheet music and other pages from history. These documents, which are often of local origin, lead to conversations about our common history.



New Artist Showcase

“Self Portrait (As a Smiling Indian With Feather),” by artist Henry Payer is shown at Gallery 103 located in the Ho-Chunk Centre in downtown Sioux City. Payer is one of five Native American artists being featured at Gallery 103 and the adjacent 3 Rivers Art Gallery as a part of the galleries’ new artist showcase on Friday.




Henry Payer is a Ho-Chunk artist who works primarily with collage and mixed media. 

Payer’s bold and contemporary narrative compositions utilize Indigenous cartographic methods with traditional aspects of spatial representation and symbolism, while appropriating European modernist models of cubism, spatial distortion and collage. Each work offers a visual narrative of symbols and appropriated voices from American consumer society that reconfigures history, references the altered landscape or the identity of a portrait.

Ernest Ricehill is a curator, exhibit designer and photographer. He curated exhibitions at the Sioux City Art Center, showcasing his meticulous attention to detail and innovative exhibit design. In the 80s, Ricehill was considered the only Native American art curator.

Ricehill ventured into photography, capturing the essence of the urban Native American experience in his project, “Moccasins On Pavement – The Urban Indian Experience: A Denver Portrait Photographic Exhibit” at the Denver Natural History Museum.



New Artist Showcase

Photography by artist Ernest Ricehill is shown at 3 Rivers Art Gallery located in the Ho-Chunk Centre in downtown Sioux City. Ricehill is one of five Native American artists being featured at 3 Rivers Art Gallery and the adjacent Gallery 103 as a part of the galleries’ new artist showcase on Friday. 




What: New Artist Showcase — meet the artists and celebrate Native American Heritage Month

When: 5 p.m. Friday

Where: Gallery 103 and 3 Rivers Art Gallery in the Ho-Chunk Centre, 600 Fourth St. 

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Celebrity Photographer Juergen Teller Gets Personal in His Latest Exhibition, the Largest to Date

Celebrity Photographer Juergen Teller Gets Personal in His Latest Exhibition, the Largest to Date
Juergen-Teller-Artwork
Juergen Teller, Mother With Crocodile, Bubenreuth, 2002. All images courtesy of the artist.

When Juergen Teller took on his latest venture, his first thought was, “How do I handle this?” he remembers over the phone. “I knew I didn’t want to do that Art Basel cubicle thing.”

The venture in question is “I need to live,” the largest exhibition of the iconic photographer’s 30-plus-year career, which opens at the Grand Palais Éphémère on Paris’s Champ de Mars tomorrow. Rather than cordon off the works on view by era or theme, Teller is opting for something far more intimate.

Juergen-Teller-photography
Artwork by Juergen Teller.

Designed with a single entry-point, the show unfolds “like a film or book” of Teller’s life. “It starts with four rather heavy photographs,” he explains. First, a portrait of Teller as a baby, taken by his father. “It looks just like my 6-month-old daughter, and also like a photograph I would have taken,” he says.

Next, a snapshot of an article announcing his father’s suicide. Then comes one of Teller’s mother with her head in a crocodile’s jaws, followed by a black-and-white shot of the photographer himself standing naked on his father’s grave. “You see this absurdity, the frightening aspect of life, the grotesqueness,” he muses of the show’s forceful preface.

Juergen-Teller-photography
Artwork by Juergen Teller.

But there’s joy and tenderness, too. The exhibition’s title, for example, is born of a will to transcend these darker moments. “My father chose to go this way, but I want to live—for my wife, for my children, and for myself. I need to live.”

Toward the end of the exhibition, a series of iconic celebrity shots—Kim Kardashian, Iggy Pop—are reenacted with the help of 6-month-old Iggy, Teller’s daughter with his wife and collaborator Dovile Drizyte. “It was an adventure for all three of us,” concludes Teller. “We had fun.”

I need to live” will be on view from December 16, 2023 through January 9, 2024 at the Grand Palais Éphémère in Paris.

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New pelican sculpture enhances V-Wall precinct – News Of The Area

New pelican sculpture enhances V-Wall precinct – News Of The Area
THE picturesque V-Wall precinct in Nambucca Heads has welcomed a stunning addition with the installation of a new pelican sculpture. Crafted by the talented duo of Jason Earnshaw and Gary Cattanach, the sculpture is set to become a focal point for locals and visitors alike. Advertise with News of The Area today. It’s worth it…

‘Beauty in decay’: Historian-photographer Jim Westphalen chronicles Vermont’s old barns

‘Beauty in decay’: Historian-photographer Jim Westphalen chronicles Vermont’s old barns

Splintered sideboards, milky windowpanes and frayed edges poke through the photograph up on the wall of Jim Westphalen’s studio. It’s a good example of the Shelburne artist’s dedication to creating artistic documents that observe history and its bound on permanence.

Westphalen has increasingly become a known name in Vermont, where he makes photographic subjects of moldering rural scenes. This year he released “Vanish: Disappearing Icons of a Rural America,” a film telling the story of his most recent body of work— elegiac photos of decaying barns and buildings across the state and beyond. It showed at the Middlebury New Filmmakers Festival this past summer and is set to screen at Burlington’s Contois Auditorium on Feb. 21.

“It’s not just documenting what’s there, you know,” he said on a recent snowy morning at his studio in Shelburne. “I see it as art. The beauty in decay.”

A self proclaimed “old soul,” born and raised on Long Island, Westphalen grew up surrounded by suburbia’s uniform and cookie-cutter landscape. He was always looking for something ever so slightly askew, something that snagged his attention. So it made sense that, after picking up a film camera in childhood and carrying it with him throughout his two years in college, he realized imagemaking was his calling. After years in commercial photography and a move to Shelburne in the 1990s, Westphalen became infatuated with the state’s great green landscape.

He cites as inspiration Andrew Wyeth’s muted watercolors, the geometric shapes and shadows in Edward Hopper’s oil paintings and the detailed work of his late friend and American classic realist painter Hale Johnson.

He wields a large-format camera, jury-rigged for digital use, and has for 35 years. His choice of camera plays a role in the sense of depth you see in a Westphalen gallery show. The large format makeup — he shoots a 4 by 5 inch frame — allows him to manipulate his subjects in the field, resulting in less time spent editing when he gets back to the studio.

The work can feel like a race against the inevitable, he said, when his subjects are often buildings that are sinking into their old foundations more and more each day. He’s trying to capture the life of a structure before it becomes obsolete.

In his mind, that decay ties the present to history, and he wants to give the past a future.

Westphalen’s film “Vanish,” explores his decadeslong effort to observe the landscape and document accordingly, before it’s too late.

His work in photography is not limited to rotting rural scenes, though. He has also found something of a spiritual counterpart in the ocean, especially on the coast of Maine. With images that play with exposure and subject matter, Westphalen tries to capture the contrast of rough, rocky shores and gentle, thrumming seas. He makes his images dreamlike through the use of long exposure, allowing the viewer access to the sea salt–soaked atmosphere.

Westphalen sees life through the viewfinder and never puts the camera down. Traveling on backroads, Westphalen became increasingly aware of the disappearing landscape of rural Vermont. What he was seeing reminded him of times at his grandmother’s in the Poconos, when she’d tell him stories about who lived in each rundown farmhouse nearby. Buildings like that came to symbolize the cultural loss on which he’d become fixated.

“In the various states of disrepair that they’re in — the textures and the patinas — there’s just so much beauty,” he said. “When I do my photography, it’s always with the goal and the mission of sort of honoring the buildings as they are today — to make people notice what we’re losing.”

Crafting images that evince for so many people a sense of mourning and reverence is the result of learning what does and doesn’t work, testing prints and exposures and angles.

Decades into his adventure in trial and error, he’s learned how rotten wood and rusted metal can produce an idealized portrait, a history written in walls. To lose those relics, he said, is to lose a connection to who Vermonters once were.

Others are trying to restore and instill resilience in the state’s landscape and culture. Rural Vermont, a farmer-led nonprofit based in Montpelier that advocates for agrarian communities, has partnered with many art organizations to tell stories and raise awareness about agriculture, an industry that has been shunted out from inside barns not unlike the ones photographed by Westphalen.

An old coal shed that's beginning to rust on the right side

Jim Westphalen

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Courtesy

The old Randolph Coal and Ice Company building in Randolph, built circa 1912, photographed by Jim Westphalen. In recent years, unsuccessful appeals have been made to secure and preserve this rare example of silo and flume technology.

“I love thinking about facets of our rural landscape from a lens of art and creativity because I think the level of craftsmanship is often just so striking and tells the story of the landscape that Vermont has and how it’s changed,” said Mollie Wills, grassroots organizing director with Rural Vermont.

Just as art can bring light to culture, culture can inspire art. Without the farms that once ran the majority of the state, Westphalen would not have a decaying barn to photograph.

Westphalen does not consider “Vanish” a work of activism itself. To him, it instead functions as a call to action for those who feel their connection to the past slipping away and want to do something about it.

“‘Vanish’ reminds us that we are living in a dynamic landscape,” said Thomas Denenber, the director of the Shelburne Museum, as part of an interview in the film.

Asked what advice he would give an aspiring photographer, Westphalen had a succinct prescription: “Find something you are passionate about, shoot like crazy, create a cohesive body of work … and make it your own.”

The Community News Service is a program in which University of Vermont students work with professional editors to provide content for local news outlets at no cost.