The conceptual Moment 3D Camera has been designed by Olga Orel as a modern piece of photography equipment that takes digital culture into account to support modern consumer preferences.

The camera is characterized by its compact construction that uses four 38mm lenses to capture scenes from four different angles. This enables the camera to create GIFs right on the device that are ready for sharing on social media and more. The camera is equipped with a large display on the rear that’s flanked by buttons for navigating the interface and making changes. The hardware identifies how photography equipment can be engineered to suit the preferences of digital natives.

Orel spoke further on the inspiration behind the conceptual Moment 3D Camera saying, “I discovered old cameras such as Nishika N8000 and Nimslo from the 1980s made by various companies with the same idea of stereography. They were quadrascopic (four lenses) cameras designed to produce four half-frame images from a click of the shutters. Lenticular prints could be made from the negatives. Unfortunately, the demand for these products was low due to people losing interest while waiting for the prints, which could take weeks and by some accounts, months to return to the consumer. You have to understand, these cameras were introduced BEFORE we knew anything about GIFs or JPEG files!”

Hope&Glory took the Grand Prix for its work with Campaign Against Living Miserably, while Ogilvy UK received the Chair’s Award for its work with Unilever’s Dove brand.

As part of The Drum’s annual Awards Festival, today we celebrated The Drum Awards for PR, which was broadcast live to the world from our studio in London.

Copyright 2023 BBC. All rights reserved.  The BBC is not responsible for the content of external sites. Read about our approach to external linking.

Beta Terms By using the Beta Site, you agree that such use is at your own risk and you know that the Beta Site may include known or unknown bugs or errors, that we have no obligation to make this Beta Site available with or without charge for any period of time, nor to make it available at all, and that nothing in these Beta Terms or your use of the Beta Site creates any employment relationship between you and us. The Beta Site is provided on an “as is” and “as available” basis and we make no warranty to you of any kind, express or implied.

In case of conflict between these Beta Terms and the BBC Terms of Use these Beta Terms shall prevail.

If you’ve not seen the trailer for Grand Theft Auto 6 yet, well done! Over 100 million people did, setting a new record at YouTube. What really struck me, though, was how heavily influenced this next generation of the gaming franchise looks to be affected by content creation.

This probably shouldn’t come as a huge surprise. At its heart the series has always been about satirising pop culture and the primary medium of culture creation is the lens – whether that’s a TV camera or a phone camera feeding the infinite scrolling feeds of social media.

Look at the trailer carefully, though, and you’ll see that’s just the start of it. In the 90 seconds of carefully edited game footage – which we can assume comes from 

I’m assuming that most of what we’re seeing comes from cut scenes that develop the game’s story, or at least the mission stories (the game will no doubt offer alternative routes to completion), but I’d be willing to bet that – just as we had to work as a pap in GTA5 – we’ll need to capture something for the mock social media platforms.

On my viewing I saw something looking like Instagram, something like TikTok, and something like a YouTube-esque platform (horizontal format being the clue).

Other missions seem to depend on indoor security cameras, and even (judging by the overlay) something purporting to be a police bodycam. The best body cameras are another aspect of daily life for many police and security officers which have emerged since the previous edition of the game, now more than a decade old.

It’s fascinating to see the game developers Rockstar playing with aspect ratios in their trailer because it reveals just how much the shape of an image now tells us, as viewers, about its meaning. Admittedly the emoticons and type on top help too; again, though, it is interesting to reflect how embedded these are in our lives since the GTA5 release in 2013 (in real life the year of the Boston Marathon bombing, Alex Ferguson’s retirement and the arrival of the Sony A7). 

It looks like other franchise classics are remaining too, like Weazle News, which is bringing us simulated TV news as well as the in-car radio as the game setting returns to the fictionalised Miami-like “Vice City”. If nothing else, the game offers a potential education to content creators; what GTA is mocking is probably tired and hackneyed and, if you’re still doing it, it’s time to move on!

If you’ve managed not to play GTA5 there is still plenty of time to enjoy it, and Rockstar have cleverly updated all the graphics for the latest platforms which keeps it surprisingly fresh (I played through as far as a paparazzi level a couple of weeks back).

At last count, our planet is home to 34 “megacities”: cities with populations of more than 10 million. By 2035, the United Nations estimates there will be 48 megacities; by 2050, it is expected that two out of every three people will live in cities as populations grow, rural areas are absorbed by urban sprawl, and people continue to move in search of work, education and opportunity.

Understanding what it’s like to live in these intense urban environments is the theme of the National Gallery of Victoria’s Megacities exhibition, an immersive multimedia exhibition featuring around 500 images by 10 photographers in 10 megacities.

The NGV’s senior curator of photography, Susan van Wyk, commissioned street photographers living and working in 10 megacities around the world: Hana Gamal in Cairo, ​​Farhana Satu in Dhaka, Mas Agung Wilis Yudha Baskoro in Jakarta, Saumya Khandelwal in Delhi, Gustavo Minas in São Paulo, Chen Ronghui in Shanghai, JT White in Seoul, Yagazie Emezi in Lagos, Mikiko Hara in Tokyo and Francisco Mata Rosas in Mexico City.

Together they have created an intimate portrait of their home cities, documenting people living, working, moving and playing in the streets. The images span quiet, reflective spaces and pockets of nature, as well as more confronting images of crowds and construction on a mass scale, reflecting the fascinating individuality of each city and all the people who live in them.

Megacities often get a bad rap – portrayed as chaotic, polluted and crowded, where competition for resources is intense and many people struggle just to survive: places perceived through the lens of “fear and prejudice”, as Timothy Moore, curator of contemporary design and architecture at NGV, writes in the Triennial catalogue.

But the Megacities exhibition offers more nuanced and individual perspectives of life in these diverse cities. “The people making these images live in these places. It’s not an external visitor or tourist coming in and capturing images that are all about what makes [places] different,” says Van Wyk.

“This is a project that offers up an opportunity for people to present images that are a reflection of the environment in which they live and work … It’s a complex vision of the world today.”

Hana Gamal: Cairo, Egypt (population 22.2 million)

Gamal’s images of Cairo, where she was born, were shot on film and mostly in black and white. “Having a film camera with a limited number of photographs teaches you how to slow down and really be present, to connect with your feelings, and to focus on what you really want to photograph,” she says.

“I have a love-hate relationship with Cairo. I love it so much, but I also hate it sometimes. This contradiction is engraved in the streets, on the walls, in the corners, on the people’s faces.

“One of my favourite photographs in this series is an amusement park gate, where you see a very scary, strange face screaming. This picture depicts so much of the city right now. We’re all screaming inside our hearts with everything happening – not just here in Cairo, but in the world.”

Farhana Satu: Dhaka, Bangladesh (population 21.3 million)

Satu was born in the south of Bangladesh in a forested coastal area. She moved to Dhaka to study when she was 13 and the city was “a shock”, she says.

“It’s so full of life but not at all close to nature, and that was very challenging for me as an artist. But Dhaka is a magical city. Despite the stress, and the traffic jams, people are still joyful. They are still friendly, they are not rude at all,” she adds.

“In Dhaka, you can have the richest men living in luxury on the top floor of a building, while homeless people sleep on the street below. I wanted to focus on that distance between rich and poor, of the two sides of human existence. It’s like sky and ground.”

Chen Ronghui: Shanghai, China (population 40 million)

Ronghui was born in a small village in a province near Shanghai. After living in Hangzhou and New York, he moved to Shanghai in 2014. “This is not just my story,” he says of his migration to the city. “It’s the story of many young Chinese people.

“In my first year in Shanghai, I had no time to enjoy anything. Like many migrants, I lived far from the city in cheap accommodation, travelling an hour or two by train to the centre. But eventually, I started to enjoy the journey to my office, because I could document what I was seeing around me.

“Shanghai is totally different from other cities like New York or Paris. It is half developed, half developing. Half socialism, half capitalism. Everything constantly changes. The facades remain for the tourists, but behind the facades there’s nothing. No local people at all. It’s a fake beauty.”

By Lydia Swinscoe

Published: 08:44 EST, 7 December 2023 | Updated: 08:44 EST, 7 December 2023

The Northern and Southern Lights put on quite a show this year – and some of the world’s most talented photographers were on hand to capture them in all their dazzling glory.

As we reveal. 

Here we present the best aurora pictures taken around the world in 2023, as carefully chosen by the travel and photography blog Capture the Atlas. The images feature in the blog’s Northern Lights Photographer of the Year collection, which it presents each year to ‘inspire and share the beauty of this natural phenomenon’.

This year’s impressive selection was captured by 25 photographers from across the globe, with images snapped by 13 different nationalities.

Dan Zafra, editor of Capture the Atlas, curates these photos throughout the year. He looks not only for images taken by some of the most renowned photographers, but also for new talent, and for new locations where incredible aurora images are rare.

Capture the Atlas said: ‘We are seeing Northern Lights displays at lower latitudes and aurora images in unique places where they haven’t been photographed before. In this edition, we have aurora images [taken] in Wales, Germany, Italy’s Dolomites, mainland Australia, and even Death Valley National Park.’  And here they are in all their natural glory, scroll down to see the full collection…

Backstage photoshoots, film stills and magical realism – check out the latest projects from this month’s selected Dazed Clubbers

The holiday season is a time filled with warmth, joy, and the magic of cherished traditions. As families come together to celebrate Christmas, there’s a unique opportunity to capture these special moments through photography. One timeless tradition that holds a special place in many households is the act of leaving cookies for Santa on Christmas Eve. Let’s explore the art of documenting this heartwarming tradition and offer tips on how to create lasting memories through your lens.

Setting the scene

Start by setting the stage for your photo session. Decorate the table with festive tablecloths, arrange Christmas-themed plates and cups, and place a tray of delicious cookies front and center. Consider adding a few holiday decorations like ornaments, twinkling lights, and perhaps even a handwritten note to Santa from the children.

Capture the baking

If your family, especially with children love to bake, capture the fun right from the start. Capture the process of making and baking the cookies too. Or get together with a few friends and make batches of holiday cookies, while sharing some holiday cheer.

Candid moments

Capture the candid moments that unfold as your family engages in the cookie-setting ritual. Document the excitement and anticipation on the faces of the children as they carefully arrange the cookies and pour a glass of milk for Santa. These unposed, authentic moments will become treasured memories that you can look back on for years to come.

Close-ups and details

Zoom in on the little details that make this tradition so special. Capture the kids’ small hands as they arrange the cookies, the crumbs left behind, and the handwritten note expressing gratitude to Santa. These close-ups add a personal touch to your documentation, preserving the essence of the moment.

Play with lighting

Experiment with lighting to create a warm and inviting atmosphere. If possible, use natural light streaming in from a nearby window to enhance the cozy, festive ambience. Soft, diffused lighting can add a touch of magic to your photographs, accentuating the joy of the occasion.

Include everyone

Make sure to include all family members in the documentation process. Whether it’s grandparents, parents, or siblings, everyone contributes to the magic of Christmas. Capture the interactions and shared smiles as each person plays a role in setting up the cookies for Santa.

Print and share

Once you’ve curated a collection of beautiful images, consider printing them to create a physical album or holiday card. Share these tangible memories with friends and family, or use them to adorn your home during the festive season.

Photographing and documenting family Christmas traditions, such as leaving cookies for Santa, is a wonderful way to create lasting memories. By paying attention to the details, capturing candid moments, and embracing the magic of the season, you can preserve the warmth and joy of these special traditions for generations to come. So, grab your camera, immerse yourself in the holiday spirit, and start capturing the magic of Christmas in your home.

So what’s your favorite Christmas Tradition? And what do you leave out for Old Saint Nick? Many regions and countries have different traditions. Share what’s yours in photos!

Introduction

Ease of Use

The Sigma 70-200mm F2.8 DG DN OS Sports is an impressively compact and lightweight zoom lens, measuring 20cms / 8.1in. in length and weighing in at 1335g / 47.1oz.

This includes the removable tripod collar/socket, yet it still manages to maintain a constant aperture of F2.8 throughout the entire zoom range.

This makes it the one of the most compact 70-200mm zooms in its class, when assessed as an AF compatible, F2.8 constant aperture zoom lenses for 35mm full-frame sensor cameras

It is shorter and much lighter than the comparable 70-200mm f/2.8 DG OS HSM Sports DSLR version that we tested back in 2019.

This is a lens that you can easily hand-hold for a long time, with no real need for it to be mounted on a tripod or monopod.

As demonstrated by the product images, it’s a great match even for a relatively small camera like the Sony A7C II that we tested it with, where it feels well balanced.

While you can use it on a smaller APS-C body, it won’t balance very well at all (and the focal length will also change).

Build quality is excellent given the affordable price tag. The lens has a plastic shell with a mixture of metallic magnesium parts and a compound material, TSC (Thermally Stable Composite), used inside.

It also incorporates a brass bayonet mount that’s supposed to be more durable than a normal metal mount. The optical elements are made of high-grade glass.

The Sigma 70-200mm F2.8 DG DN OS Sports feels solid enough in your hand, despite its mostly polycarbonate construction.

The zoom ring is generously wide and it has a tactile ridged, rubberised grip band with a smooth action.

Thanks to its inner zoom design, the lens does not extend at all when fully zoomed out to 200mm, maintaining a constant length.

The focusing ring is on the narrower side and is located towards the center of the lens mount. There’s no distance scale and no depth of field scale on this lens.

There are no hard stops at either ends of the range, either, making it harder to set focus at infinity. Pol ariser users should be pleased that the 77mm filter thread doesn’t rotate on focus.

In terms of features, the Sigma 70-200mm F2.8 DG DN OS Sports offers everything that you need from a professional telephoto zoom lens.

This very usefully includes built-in Vibration Reduction, activated by the OS switch on the lens barrel, which offers up to 7.5 stops of compensation. The OS system has two modes – mode 1 is suitable for general photography, and mode 2 is best for panning shots of moving subjects.

The 70-200mm F2.8 DG DN OS Sports lens features a traditional aperture ring for the first ever time on a Sigma zoom.

It has 1/3EV stops ranging from f/2.8 to f/22 and an Auto setting if you prefer to set the aperture via the camera body.

There’s also a Lock switch which either locks the aperture ring to Auto or to the aperture values, and a Click switch that lets you de-click it for silent operation during movie recording.

An AF/MF switch on the side of the lens makes it easy to switch between the two focusing systems.

In use, we found the focusing system to be quiet, fast and reliable with the lens mounted on a Sony A7C II camera. It’s also a very quiet performer, thanks to the newly developed built-in dual High-response Linear Actuator motors, making it well-suited to video recording, especially as it has also been designed to suppress focus breathing.

Focusing is usefully internal and manual focusing is possible when set via the Focus switch on the lens barrel. Full-time manual focus override is also available by using the Direct Manual Focus (DMF) function on Sony cameras and then rotating the focus ring.

There is a focus limiter switch which has three settings, Full, 3m-infinity and closest focus distance-3m, which helps speed up the auto-focusing if you know how far your subject is from the lens. You can also use the Sigma USB dock to customise these ranges to your own needs.

There are three dedicated Auto Focus Lock (AFL) buttons located between the zoom and focus rings that can be optionally re-configured to assign various functions to the lens barrel and there is also a Custom Mode switch with two available modes.

The lens has a dust and splash-proof construction with a water and oil repellent front coating that should help it to withstand most inclement conditions.

The tripod collar has a locking knob that allows the lens and camera to rotate freely to position them horizontally or vertically. The magnesium tripod socket (TS-151) has a 1/4″ screw hole and is Arca Swiss compatible.

The lens is supplied with plastic lens caps, a carbon-fibre reinforced plastic circular cover-type lens hood (LH860-01) with a locking mechanism, and a good quality padded case. The filter size is 77mm.

Note that this lens is not compatible with Sony’s 1.4x and 2x teleconverters and Sigma don’t provide their own TCs for the E-mount system.

Sigma’s very useful USB dock isn’t available either for the Sony system, and this lens isn’t compatible with the very fastest burst shooting rates that cameras like the Alpha 1 or A9 III offer.

Focal Range

At the 70mm focal length the angle of view is 34.3 degrees.

70mm

At the 200mm focal length the angle of view is 12.3 degrees.

200mm

Chromatic Aberrations

Chromatic aberrations, typically seen as purple or blue fringes along contrasty edges, are well controlled with this lens.

70mm

200mm

Vignetting

With the Sigma 70-200mm F2.8 DG DN OS Sports wide open at f/2.8, you can see some noticeable light fall-off in the corners. Stopping down helps, although to completely get rid of this phenomenon, you will need to use an f-stop of at least f/5.6 or smaller.

70mm

200mm

Distortion

There’s quite a lot of barrel and pin-cushion distortion evident in both the JPEG and RAW files which you’ll need to correct in post-processing until a suitable lens profile is released for your editing software.

70mm

200mm

70mm

200mm

Sunstars and Flare

The Sigma 70-200mm F2.8 DG DN OS Sports produces quite nice sunstars when stopped-down to f/22, as shown below, although it it a little prone to flare when shooting directly into the sun.

70mm

200mm

70mm

200mm

Macro

The close-focus point is 65cm / 25.6″ from the film/sensor plane at the 70mm focal length and 100cm / 39.37″ at 200mm. It has a maximum magnification ratio of 1:5.2 / 0.19x at the 200mm focal length.

70mm

200mm

70mm

200mm

70mm

200mm

70mm

200mm

Bokeh

Bokeh is a word used for the out-of-focus areas of a photograph, and is usually described in qualitative terms, such as smooth / creamy / harsh etc.

One of the reason to buy such a fast lens as the Sigma 70-200mm F2.8 DG DN OS Sports is to be able to isolate the subject from the background.

Sigma have also used an iris diaphragm with 11 rounded blades for a very pleasing rendering of the out-of-focus highlights.

Below you’ll find some examples, but you are also encouraged to check out our sample images.

70mm

200mm

70mm

200mm

70mm

70mm

200mm

200mm

Sharpness

In order to show you how sharp the Sigma 70-200mm F2.8 DG DN OS Sports lens is, we are providing 100% crops on the following pages.