So much for that idea: Swiss village lifts photography ban after story goes viral

DP Review News - Sat, 03/06/2017 - 09:00

A post shared by Bergün - Filisur (@berguen.filisur) on May 11, 2017 at 2:12am PDT

Just days after 'banning' photography, the Swiss village of Bergüm has, not surprisingly, reversed course. In a bizarre video, the mayor of Bergüm states that 'until the ban on photography is officially lifted, everyone with a camera will be given a friendly special permit.'

The video leaves little doubt that the whole thing was a PR stunt, with Mayor Peter Nicolay proclaiming 'the beauty of our village has become world-famous thanks to our friendly photography ban.' Judging by how quickly the story spread, the stunt worked exactly as planned.

Categories: News

The 20 photographs of the week

A car-bombing in Kabul, protests in Caracas, Europe’s refugee crisis and the battle for Mosul – the news of the week captured by the world’s best photojournalists

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Categories: News

Panasonic AU-EVA1 offers EF-mount Super 35 5.7K capture to SD with Raw promised

DP Review News - Sat, 03/06/2017 - 01:40
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Panasonic has announced a 5.7K Super 35 format cinema camera that sits between the GH5 and the VariCam LT 4K. The camera is built around a Canon EF mount and can capture 4K/60p video at rates of up to 400Mbps, 10-bit 4:2:2 quality to SD cards.

Panasonic hasn't revealed detailed specs yet but says the camera will have 'dual native ISOs,' which is usually videographer speak for sensors with a dual gain design. The camera will offer V-Log and V-Gamut gamma and color modes, to match the VariCam series.

The camera has XLR audio inputs and both HDMI and SDI video outputs. Initially it will output 4K over these connectors but Panasonic promises 5.7K Raw output to external recorders with a firmware update. The camera will ship in 'the autumn' at a cost of around €8000.

Press Release:

Panasonic has previewed the AU-EVA1, at Cine Gear Expo 2017 in Los Angeles, USA, a new 5.7K cinema camera positioned between the Panasonic Lumix GH5 4K mirrorless camera and the VariCam LT 4K cinema camera. Compact and lightweight, the AU-EVA1 is tailor-made for handheld shooting, but also well suited for documentaries, commercials, and music videos.

“For cinema-style acquisition, we realised there was a space between the GH5 and the VariCam LT,” said EMEA Marketing Manager Nela Pertl. “With its compact size and new 5.7K sensor, the EVA1 fills that gap for a variety of filmmaking applications.”

The EVA1 contains a newly designed 5.7K Super 35mm-sized sensor for capturing true cinematic images. By starting at a higher native resolution, the 5.7K sensor yields a higher resolving image when down sampled to 4K, UHD, 2K, and even 720p. The increased colour information results in a finer, more accurate finished image.

One of the key features of the VariCam 35, VariCam LT, and VariCam Pure is dual native ISO. Utilising a process that allows the sensor to be read in a fundamentally different way, dual native ISO extracts more information from the sensor without degrading the image. This results in a camera that can switch from a standard sensitivity to a high sensitivity without an increase in noise, or other artifacts.

“On the VariCams, dual native ISO has allowed cinematographers to use less light on set, saving time and money, as well as allowing for a great variety of artistic choices. The EVA1 will include dual native ISO, but the camera is currently being tested to determine final ISO specifications,” added Nela Pertl.

The ability to capture accurate colours and rich skin tones is a must for any filmmaker. Like the VariCam lineup of cinema cameras, the EVA1 contains V-Log/V-Gamut capture to deliver high dynamic range and broad colours. V-Log has log curve characteristics that are somewhat reminiscent of negative film and V-Gamut delivers a colour space even larger than film. The EVA1 will also import the celebrated colourimetry of the VariCam line.

Weighing only 1.2Kg (body-only) with a compact form factor (17cm x 13.5cm x 13.3cm) and a removable handgrip, EVA1 can be used for efficient handheld shooting applications and can also be mounted on a drone, gimbal rig, or jib arm for complex yet smooth camera moves. There will also be numerous mounting points and Panasonic is currently working with top accessory makers to allow further customisation with the EVA1.

Ideal for indie filmmakers, the EVA1 records to readily-available, lower-cost SD cards. The camera can record in several formats and compression rates, and offers up to 10-bit 422, even in 4K. A complete breakdown of recording formats will be available at the time of the EVA1’s release.

The camera utilises a native EF-mount, giving shooters access to the broad EF lens ecosystem, including dozens of cinema-style prime and zoom lenses from numerous manufacturers. Electronic Image Stabilisation (EIS) is employed to compensate for camera shake and blurring, which will help smooth out handheld or shoulder-mount shots on documentary or run-and-gun projects. Behind the lens mount, an integrated ND filter wheel in 2, 4, and 6 stops allows for precise exposure control. The EVA1 also allows the IR Cut filter to be swung out of the path to the sensor at the push of a button. Unique photographic effects and night vision imagery are possible with this control over infrared.

As a professional video production tool, the EVA1 offers dual balanced XLR audio inputs and 4K-capable video outputs in both HDMI and SDI. In a future firmware upgrade, EVA1 will offer 5.7K RAW output to 3rd party recorders.

The EVA1 will ship this autumn for under €8,000 (body only).

For more information on Panasonic Broadcast & ProAV, please visit

Categories: News

AI-guided camera assistant Arsenal blows past Kickstarter funding goals

DP Review News - Fri, 02/06/2017 - 20:29

Last week we wrote about Arsenal, an intelligent camera assistant currently looking for crowdfunding. Since then, the Kickstarter campaign has enjoyed huge success, with over $700,000 pledged and still plenty of time left to raise more funds. Arsenal's creator has issued an update announcing that as stretch goals have been met, additional camera support will be added for launch, along with live histogram and night focus features.

A new stretch goal for $1,000,000 has also been set. If that funding level is met, Arsenal's creators promise it will ship with remote video control and remote video playback.

Below are the cameras added for launch. The video above, posted recently, showcases Arsenal's time-lapse capabilities.

  • Sony a77
  • Sony a77ii
  • Sony a99
  • Sony a99ii
  • Nikon d500
  • Nikon D3000
  • Canon 760D
Categories: News

SkyPixel and DJI now accepting entries to 2017 Aerial Video Contest

DP Review News - Fri, 02/06/2017 - 19:40

DJI and SkyPixel have opened up their latest competition for entries. The 2017 SkyPixel Video Contest accepts video clips from 30 seconds up to 5 minutes in length. Videos can be created by any aerial platform, so if you don't own a DJI drone, fear not – you're still in the running. Prize packages include DJI drones, Nikon DSLRs and some slick-looking (?) Oakley sunglasses.

Entries must be submitted to one of three categories: City, Nature and Sports. The deadline for submissions in August 2nd, 2017. Find out more at the contest website.

Categories: News

Video: How to shoot white products on a white background

DP Review News - Fri, 02/06/2017 - 19:30

Shooting products on a white background is a common setup for anyone selling online. But how do you handle shooting a white product on a white background? The trick is to completely separate one's foreground lighting from the background lighting. Pro photographer David Patino breaks down how to do it in this short, but useful PDN video.

Categories: News

NASA spacecraft struck by meteoroid while photographing the Moon

DP Review News - Fri, 02/06/2017 - 19:19
The collision of a meteoroid with the Lunar Reconnaissance Orbiter’s Narrow Angle Camera resulted in this wavy image.

NASA/Goddard Space Flight Center/Arizona State University

A camera on NASA’s Lunar Reconnaissance Orbiter survived a direct hit from a meteoroid no larger than the pin of a head that was traveling at incredibly high speeds. Despite its small size, tiny meteoroids can inflict significant damage on space equipment, especially instruments as delicate as a camera.

According to NASA project scientist Mark Robinson, 'In this case, (the camera) did not dodge a speeding, but rather survived a speeding bullet.'

The incident actually occurred in late 2014, but was not made public until recently. The Lunar Reconnaissance Orbiter has been mapping the moon’s poles ever since its launch in 2009. And its cameras – manufactured by a small company called Malin – are known for being particularly tough. In fact, Malin cameras are also used on the Mars Curiosity rover.

Categories: News

VENQUE Transformer A modular backpack has an expandable camera bag

DP Review News - Fri, 02/06/2017 - 19:11

Newly launched on crowdfunding website Kickstarter is a modular, 'transformable' backpack called VENQUE Transformer A. The team behind the product describes Transformer A as an 'advanced backpack' that can be transformed into various types of bags, including a camera backpack, a messenger bag, and a 'travel pro' bag. Among the backpack's many features is an expandable camera bag that is separate from the main component.

VENQUE designed the Transformer A to meet a variety of needs in different situations and environments, and the end result is a bag with built-in USB charging, a hidden compartment for expensive electronics like laptops, a dedicated compartment for a tripod or water bottle, straps to hold a yoga mat, as well as anti-theft features, a secure buckle, YKK zippers, and an RFID security pocket.

The expandable camera bag can be used as part of the main backpack or separately as a smaller, lighter day pack. Transformer A measures 47 x 34 x 16.5cm (18.5 x 13.4 x 6.5in) and weighs 0.7kg (1.5lbs), while the camera bag measures 25 x 23 x 7.6cm (10 x 9 x 3in) and weighs 0.3kg (0.7lbs). VENQUE doesn't estimate how much camera gear the expandable bag can accommodate, though one image shows it with a Sony a7 body, one lens, and a couple camera accessories.

The company is currently offering the Transformer A backpack as a reward to backers who pledge at least $239 CAD / $177 USD for the campaign. Shipping to backers is estimated to start this August.

Via: Kickstarter

Categories: News

Fujifilm's MK 50-135mm cine lens will arrive in July for $4000

DP Review News - Fri, 02/06/2017 - 18:39

Fujifilm has officially launched the MK 50-135mm T2.9 cinema lens aimed at emerging filmmakers, giving it a mid-July release and $4000/£3300 price tag. It will be available initially in the Sony E-mount, but the company says it is working on a version for its own X-mount cameras that will go on sale before the end of the year. It was first announced back in February alongside an 18-55mm T2.9.

The DSLR and CSC stills lenses that many videographers use suffer from shifting focus and centring during zooming, according to Fujifilm, and ‘breathing’ often alters the magnification of the view as focus distances change. If the background changes size in the frame as focus is being pulled, or the subject goes out of focus during a zoom, the fluidity of the sequence can be destroyed. This new lens is intended to replace these still lenses, with their unsuitable characteristics, so that photographers using small cameras can make professional-looking films.

The Fujinon 18-55mm T2.9

The new lens matches the three-ring layout and 82mm filter thread size of the existing Fujinon 18-55mm T2.9 so it should be easy to switch between the two, and with both lenses videographers will have most popular focal lengths covered. The lenses are designed to work with APS-C and Super 35mm sized sensors, so will provide similar angles of view to a 75-200mm on a full frame system.

For more information see the Fujifilm website.

Sample footage

Press release

Fujifilm launches the FUJINON MK50-135mm T2.9 telephoto zoom cinema lens with advanced optical performance, ultra-compact and lightweight design, and excellent affordability

FUJIFILM Corporation (President: Kenji Sukeno) will release the FUJINON MK50-135mm T2.9 (MK50-135mm) telephoto zoom cinema lens in July 2017. The MK50-135mm has a focal length of 50-135mm and can be combined with the FUJINON MK18-55mm T2.9 (MK18-55mm) standard zoom lens, that was released in March 2017, to form a kit that covers the most frequently-used focal lengths of 18mm to 135mm, accommodating a broader variety of conditions.

The rapid growth in popularity of movies made by emerging cinematographers in recent years, including corporate and commercial movies on the internet and other venues, has increased the opportunities for shooting movies using cinema and regular digital cameras, and it boosts demand for high-performance cinema lenses that deliver high resolution and advanced scene-depicting capability. For filming such materials, interchangeable lenses for digital cameras are often used instead of cinema camera lenses as they are more affordable and mobile. However, these lenses are designed primarily for shooting still images, and therefore prone to problems such as focus shift and optical axis shift while zooming, and so on.

In response, Fujifilm has developed the MK series of cinema lenses that resolve these issues while still offering advanced optical performance and an ultra-compact and lightweight design - all at an affordable price. The MK18-55mm that was launched in March this year has been popular among emerging cinematographers who praise it for its edge-to-edge sharpness and ease of handling thanks to its compact and lightweight design.

The new MK50-135mm is a telephoto zoom lens that covers the focal length from 50mm to 135mm. It has the maximum T-stop value of 2.9*1 across the entire zoom range, enabling to shoot with a shallow depth-of-field with beautiful bokeh. The lens is compatible with E-mount*2 cameras with the Super 35mm*3 / APS-C sensor. It incorporates the benefits of short flange focal distance*4 into optical design to the maximum extent to achieve advanced optical performance while maintaining a compact and lightweight design. The lens design is optimized for shooting movies, minimizing focal and optical axis shift while zooming and lens breathing (change of angle of view during focusing) – negative traits that are typically observed in still lenses for digital cameras. The lens also features three rings to enable manual and independent adjustment of focus, zoom and iris (aperture), all with the gear pitch*5 of 0.8M (module). The focus ring can rotate fully up to 200 degrees to facilitate precise one-handed focusing. These features make the lenses comfortable to operate.

The MK50-135mm can be combined with the MK18-55mm to form a compact and light weight kit that covers the most frequently-used focal lengths between 18mm and 135mm, accommodating a variety of subject matters including landscape, architecture and portraiture. They share the common front element diameter, filter thread and three-ring gear positions, allowing users to share the use of the same accessories such as matte box and filters. This eliminates the need to re-adjust accessory positions when changing between lenses, streamlining operations in frontline video production.

The X Mount versions of MK lenses (with the focal lengths of 18-55mm and 50-135mm) for Fujifilm’s X Series of digital cameras (APS-C sensor) are currently under development, and due to be released by the end of this year.

FUJINON lenses offered by Fujifilm have been used at movie / CM / TV production sites around the world for their advanced scene-depicting capability. Tapping into its optical design, high-precision processing and assembly technologies that have been nurtured over the years in the cutting-edge field of video production, Fujifilm will continue to expand its lens line-up to meet the diverse needs at the video production industry.

*1 T-stop value is an index that indicates brightness of a lens based on its F-stop value and transmission rate. The smaller the value, the greater amount of light the lens transmits.
*2 Lens mount format developed by SONY Corporation
*3 Super 35mm is a standard format for motion film cameras using 35mm film stock, and refers to a sensor size used in many cinema cameras.
*4 Distance from lens mounting reference plane to sensor
*5 Distance between gear teeth

1. Product name, release date, pricing
Product name: FUJINON MK50-135mm T2.9
Release date: Mid July 2017
Expected user price: GBP £3,300* (ex VAT)
*At today's GBP/EURO exchange rate

2. Main product features
Advanced optical performance, packed into a compact and lightweight lens barrel
The MK50-135mm covers the focal length of 50mm to 135mm and when combined with the MK18-55mm standard zoom lens, they form a kit that covers 18mm to 135mm, the most frequently-used focal length in video production.

The MK50-135mm supports E-mount cameras with Super 35mm / APS-C sensor. It achieves advanced optical performance despite its compact and lightweight body, weighing just 980g, by incorporating the benefits of short flange focal distance into optical design.

The MK50-135mm has T2.9 speed across the entire zoom range which allows shooting with a shallow depth-of-field and eliminates the need to re-adjust lighting.

The MK50-135mm offers advanced edge-to-edge optical performance and low distortion*6 and is designed to match the color temperature of FUJINON HK Premier, ZK Cabrio and XK Cabrio lenses to simplify color grading*7 when using a combination of lenses.

*6 Distortion refers to a phenomenon in which an image formed through a lens becomes partially contracted or extended at the edges.
*7 Processes of correcting colors during video editing

Resolving issues associated with using interchangeable lenses for still digital cameras in video production

The front focusing group of lens elements and the zooming group of lens elements are driven independently from one another to suppress focus shift while zooming, eliminating the need to re-focus after zooming in or out. The optical and mechanical approach means there is no time lag as seen in an electrical control system.

The use of the front inner-focusing system controls lens breathing (change of angle of view during focusing) to achieve smooth focusing.

By using design and manufacturing technologies developed for FUJINON HK, ZK and XK Cine lenses, optical axis shift is minimized while zooming, eliminating the need to re-compose the shot when the angle of view is changed.

Comfortable operation as expected of a dedicated video lens
The focus ring features a rotation of a full 200 degrees to allow precise focusing even when shooting with a shallow depth-of-field.

The lens features three rings to enable independent adjustment of focus, zoom and iris. The fully manual mechanism of all three rings enable intuitive operation that often cannot be attained with electrical mechanism which typically causes time lag.

All the operation rings have a gear pitch of 0.8M, the same as all other FUJINON cine lenses, which allows the use of any standard third party accessories for video production such as Follow Focus.

The iris operation ring has a click-free seamless adjustment which enables smooth, precise exposure adjustment while also preventing noise and camera shake caused by clicking.

Standardized MK series design

The MK50-135mm shares the same front diameter of 85mm and filter thread of 82mm with the MK18-55mm,allowing users to use the same matte boxes and filters on both lenses.

The two lenses also share the same dimensions and three-ring gear positions, eliminating the need to re-adjust accessory positions when changing between them.

The MK50-135mm offers a macro mechanism with the minimum object distance*8 of 0.85m (wide angle-end), broadening the types of scenes that can be covered with a single lens.

The MK50-135mm features a Flange Focal Distance adjustment function*9 to achieve optimum camera and lens matching, bringing out the full optical performance of the lens.

*8 Distance from the image-forming plane to a subject
*9 The position of lens's image-forming plane can be adjusted according to each camera's flange focal distance (distance from lens mounting reference plane to sensor).

Categories: News

Nikon launches Arcrest protection filter line

DP Review News - Fri, 02/06/2017 - 18:37

In addition to the AF-S Nikkor 28mm F1.4E ED, 8-15mm F3.5-4.5E ED fisheye and AF-P 10-20mm F4.5-5.6G VR lenses Nikon also announced the new Arcrest line of 'professional-grade' protection filters. The Arcrest filters are available in 67mm, 72mm, 77mm, 82mm and 95mm diameters and, according to Nikon, can survive heavy impacts while only having a minimal impact on image quality.

The filters are 2mm thick and come with special coatings that minimize color balance disturbance, reduce ghosting and flares and repel water/oil/dirt. Nikon says they are also less prone to ghosting when shooting night scenes.

It appears that at least for now the Arcrest line will only be released in the Japanese market. Prices range from ¥9,680 ($88) for the 67mm filter to ¥25,799 ($234) for the largest diameter version. The product page on the Nikon Japan website offers a good selection of sample images and comparison shots against filters from competing brands.

Categories: News

Mathematician turns Juno images into stunning Jupiter flyby video

DP Review News - Fri, 02/06/2017 - 17:51

Since NASA's Juno probe entered Jupiter's orbit a year ago, it's been sending back high-resolution images of the solar system's biggest planet.

When NASA released the latest batch of images, last month, German mathematician Gerald Eichstaedt got to work, turning them into into a video. Using software that he wrote, Eichstaedt used Juno's trajectory data to determine the probe's exact position when it captured an image, and then placed that image on a spherical model of the planet. The resulting video combines 36 images from the probe to simulate a Jovian flyby.

London-based filmmaker Seán Doran saw the video when Eichstaedt uploaded it to and spent another 12 hours smoothing the thousands of frames, before adding a soundtrack.

It's almost like being there. Almost...

Watch Gerald Eichstaedt's original video

Read more about NASA's Juno mission

Categories: News

‘One minute I’m a policeman on an estate, the next I’m on the front pages with Tony Blair’

Kevin Holland meets the new prime minister at the Aylesbury estate, London, June 1997

Tony Blair made his first speech as prime minister here, near Elephant and Castle in south London. The Aylesbury estate is home to about 7,500 people, and has dozens of concrete towers, all interlinked by walkways – the size of a small town. It was riven with crime. “For the past 18 years, often the poorest people in our country have been forgotten by government,” Blair said that day. “And I want that to change.”

I started working as the home beat officer there in 1994. The first thing I did each morning was look at the crimes from the past 24 hours: robberies, burglaries, damage to cars. There were 10-15 crimes a day. At first, I spent a lot of time nicking people. But I gradually became more of a conduit and peacemaker; I opened up communication between the police, security guards and the tenants. My aim was to get on top of the gangs.

Related: ‘JFK was down-to-earth, human and kind’: Andreas Hadjivassiliou meets President Kennedy

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Categories: News

On Jeremy Corbyn's campaign trail – in pictures

Photographer Sean Smith has spent the last few weeks covering Jeremy Corbyn’s Labour general election campaign

Veteran Guardian photojournalist Sean Smith is no stranger to general elections – he can recall photographing Michael Foot’s campaign in the early 1980s. But this is the first time the Labour candidate happens to be his local MP.

A few days after the election was called, Corbyn was looking five years younger, relaxed confident and happy

Despite the campaign being under way he made the time to visit a small local charity in his constituency

In York his police protection asked for help with the crowd. Corbyn's team replied they only had three available

As the campaign went on he seemed to be enjoying himself. On the bus he made sure everyone had a tea or coffee

The awful Manchester attack stopped everything and everyone. He seemed affected on a personal level, stunned, angered

Even though the campaign has been completely focused on him, he has remained a very private man in the eye of the storm

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Urchins and alleyways: a rare glimpse of 19th-century Glasgow – in pictures

Photographer Thomas Annan captured Glasgow in the 1860s and 70s, at a time when the city had transformed and grown rapidly after the industrial revolution

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Best photos of the day: colourful vapours and meerkat quadruplets

The Guardian’s picture editors bring you a selection of highlights from around the world, including newborn meerkats in Japan

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Dust on a Duchamp, Grayson's pots and radical painting – the week in art

Richard Wright beguiles Glasgow, modern art takes London, and a dog urinates in New York – all in your weekly dispatch

A Handful of Dust

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World reacts to Trump's decision to reject Paris climate accord – in pictures

Politicians, governments and newspapers across the world react with dismay and frustration over US president’s decision to pull the world’s second biggest emitter of greenhouse gases out of the agreement

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Readers' travel photography competition: May – the winners

Poignant portraits and wanderlusty landscapes are again to the fore in this month’s excellent selection. Scroll to see the winner, who receives a £200 holiday voucher from Exodus Travels. The overall 2017 winner will go on a 16-night wildlife holiday for two to Costa Rica with Exodus

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Categories: News

Swimming with giants: Black and white whale portraiture by Jem Cresswell

DP Review News - Fri, 02/06/2017 - 10:00

Creativity showcase site My Modern Met recently interviewed Jem Cresswell, an Australian photographer who has just completed a project he calls Giants. The project is a series of portraits of humpback whales presented in black and white and offers an intimate look into the personalities and emotions of these 'gentle giants.'

In the interview, Cresswell describes his process (much of which you can see from the behind-the-scenes video above), as well as some interesting details concerning his interactions with the whales. In addition to only swimming with 'certain whales,' Cresswell says they never use scuba gear and he always enters the water 'as calmly as possible, keeping my heart rate low and wait to see the behaviour.'

The interview also addresses the presence of 'spindle cells' in humpback whales, which are cells that are thought to be responsible for social organization and empathy. 'It is obvious though, that humpback whales exhibit complex emotional behaviors, have intricate social networks and complex song structures,' says Cresswell.

Head on over to My Modern Met or Cresswell's website to view these stunning portraits for yourself - all of which, Cresswell says, were captured on a Canon 5DS R, 24-70mm F2.8L II and 16-35mm F4L in an Aquatech underwater housing.

Via: My Modern Met

Categories: News

Readers’ travel photo competition: June – win a trip to Costa Rica!

Taken a fab travel photo this year? Then enter our travel photo competition for a chance to win a wildlife holiday for two to Costa Rica with Exodus Travels. No theme – just send your best travel shot

Stunning landscape, atmospheric street market shot, wonderful wildlife or an original take on a well-known hotspot? We want to see your best travel shot. We’ll choose and publish a selection of our favourites, and the winning image for this month will receive a £200 voucher that can be used against an Exodus Travelsholiday.

All the monthly winners will be entered for the overall annual prize, a fantastic16-night holiday for two to Costa Rica with Exodus Travels.

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