Milan, Italy: 10 June – 4 October 2026 Berlin, Germany: 8 October 2026 – 7 February 2027 Matera, Italy: 14 November – 10 December 2026 Bisceglie, Italy: 12 – 30 December 2026
To find out more about our exhibitions, please visit worldphoto.org.
2027 Deadlines and Prizes
The Sony World Photography Awards opened for submissions on 1 June 2026. Full competition and category descriptions can be found at worldphoto.org.
Deadlines for submission to the four competitions are as follows:
Series: 12 January 2027, 16:00 GMT
Single Image: 5 January 2027, 16:00 GMT
Student: 27 November 2026, 16:00 GMT
Youth: 5 January 2027, 16:00 GMT
All category winners of the Series, Single Image, Youth and Student competitions receive digital imaging equipment from Sony.
The prestigious Photographer of the Year receives a cash prize of $25,000 (USD), as well as a solo presentation of their work as part of the Sony World Photography Awards exhibition in London the following year.
The Single Image Competition Winner and the winner of the Sustainability Prize each receive $5,000 (USD).
All winning and shortlisted photographers’ projects are exhibited at the annual Sony World Photography Awards exhibition in London and will then tour internationally. The winning images are also published in the annual Awards book, sold at the exhibition and made available online.
Series competition category winners and finalists are invited to Insights, a day of tailored sessions with leading industry figures in London. Coming from commercial, curatorial and institutional backgrounds, these experts offer photographers specialised guidance on expanding their networks and developing their practice.
For more information about the Sony World Photography Awards, upcoming announcements and events, please visit worldphoto.org.
One year after its pilot launch, inDrive.Ads has surpassed two billion impressions globally and expanded to 25 countries, including South Africa, as inDrive builds advertising into its model as an additional source of revenue beyond ride commissions.The milestone comes seven months after inDrive.
Ads launched in South Africa in February 2026, bringing advertising into the inDrive app and allowing brands to reach consumers at different points in their ride journey.At the same time, South African advertisers continue to direct growing investment towards digital channels, with the IAB South Africa and PwC Internet Advertising Revenue Report finding that local online advertising revenue grew by 21.5% year on year to R17.7 billion in 2023.
South Africa also stands out for the breadth of categories represented across the wider advertising market. Rather than any single sector dominating, demand is spread across a diverse ecosystem, with banking brands such as Standard Bank, FNB and Capitec competing for consumer attention alongside major retail brands and a growing base of local small businesses.
This broader market context is reflected in inDrive.Ads’ own local performance: based on inDrive’s January to August 2026 data from Google Ad Manager, active monthly advertisers more than doubled over the period, growing 2.2 times, while eCPM increased nearly fourfold, pointing to growing advertiser activity and increased value being placed on South African digital inventory.
“South African consumers spend a significant part of their daily lives on their mobile phones, which means brands are continually looking at how and where they can reach them meaningfully,” says Ashif Black, Country Representative for inDrive South Africa.inDrive.
Ads sits inside a different kind of media environment – what we call Ride Media. Instead of interrupting people in the middle of something else, ads appear during moments that are already happening on their own: whether someone’s waiting for their ride to arrive, or a driver’s waiting for their next passenger. There’s nothing to skip past and nothing competing for attention – the ad is simply present in a moment the rider is already in, the same way a billboard is present on a street someone’s already walking down.Globally, inDrive.
Ads has grown to more than 2,000 active advertisers each month during its first year and is now operating across 25 markets in Latin America, EMEA and APAC.The platform has also introduced an integrated consent management system, giving users greater control over their data and privacy choices.
This is particularly relevant in South Africa, where the Protection of Personal Information Act (POPIA) places obligations on organisations around the lawful and responsible processing of personal information.“The first year was about building a strong advertising monetisation foundation to sustain our future growth,” says Max Silin, Director, inDrive.Ads.
“Next, as inDrive evolves into a retail media ecosystem, we are moving towards a model where ads support holistic, value-driven, user-centric journeys, making every touchpoint an organic part of the experience.” Advertising that supports the wider inDrive modelinDrive.Ads connects brands with inDrive’s large, highly engaged user base while generating an additional revenue stream that helps the company keep driver commissions and rider fares among the lowest in the industry.
This is particularly relevant in South Africa, where transport affordability remains an important consideration for both passengers and drivers.A portion of inDrive’s global advertising inventory is also allocated to its social impact programmes. During the first half of 2026, this provided more than 1.7 million impressions in support of initiatives including Juntas Llegamos in Mexico, Colombia and Peru, inVision University in Kazakhstan and the Alternativa Film Festival in Colombia.
For South Africa, Black says the opportunity lies in building an advertising model that can create value for brands while supporting the economics of the wider mobility platform.“South Africa is a market where both riders and drivers feel cost pressures very directly, so how we grow the platform needs to be carefully considered against our local context,” says Black. “As inDrive.
Ads develops locally, we can give South African brands a new way to reach consumers during everyday journeys. For us, the opportunity is to grow that advertising business while continuing to protect the affordability and low commissions that are important to our users.”
Constitution Hill to host public vigil against gender-based violence and violence against women and children Johannesburg, South Africa – Constitution Hill South Africa will host Warm Bodies at The Women’s Jail on Friday, 25 September 2026, a public vigil bringing South Africans together in mourning, reflection and solidarity in response to the devastating scourge of gender-based violence and the continued loss of life in our communities.The gathering will take place at the historic Women’s Jail at Constitution Hill, a space that once symbolised the oppression and imprisonment of women under apartheid and today stands as a powerful symbol of women’s resilience, courage and resistance. Constitution Hill’s own historical record documents the imprisonment of prominent anti-apartheid activists including Albertina Sisulu, Fatima Meer, Barbara Hogan and Winnie Madikizela-Mandela at the Women’s Jail.Gauteng MEC for Economic Development, Agriculture and Rural Development Vuyiswa Ramokgopa said the gathering presents an important opportunity for society to confront violence against women while drawing strength from the women who came before us, “The Women’s Jail reminds us that women have endured injustice, oppression and violence before, and they have always found the courage to resist and to rise. Today, as we confront the devastating reality of gender-based violence, we must draw on that same courage. Warm Bodies is about standing together in mourning, in solidarity and in our shared determination to build a society where women and children can live free from fear and violence.”The vigil will provide a space for members of the public, civil society organisations, human rights partners and stakeholders to collectively mourn, reflect and reaffirm their commitment to social justice, Ubuntu and a society free from violence.The programme will include poetry, reflections from guest speakers, messages of support and hope, followed by 10 minutes of collective silence and reflection.Among the speakers will be Dr Beverly Ditsie, an expert in constitutionalism, alongside representatives from the social justice and gender-based violence sectors.
𝑷𝑹𝑶𝑮𝑹𝑨𝑴𝑴𝑬
11H30: Arrival
12h00: Welcome –
MC: Sophie Ndaba –
Wellness Coach; Actress; Entrepreneur
12h05: Opening Prayer – Rorisang Thandekiso; Presenter; Radio Host
12h10: Poetry Reading: Nomonde Sky
12h15: Key note Address: MEC Vuyiswa Ramokgopa – Economic Development, Agriculture and Rural Development
12h20: Guest Speaker: Dr Beverly Ditsie – Human Rights Activist, Film Maker & Director
12h25: Guest Speaker: Sasha Stevenson – Director of Section 27
12h30: Poetry Reading: Noxolo Desire
12h35: Silent Memorial of reflection and mourning
12h40: Amnesty International SA : A flower for remembrance
12h45: 11 Minutes of meditation with Mama IttaThis is a call to come together! South Africa continues to face the devastating scourge of gender-based violence.
The recent multiple murders in our country have left communities grieving, anxious and searching for spaces of collective expression, solidarity and healing. The Women’s jail at Constitution Hill, once stood as a symbol of oppression and brutality to women, it stands today as a symbol of feminine resilience and echoes the strong voices of Powerful Women.
Act in solidarity and gather on 25 September from 12 to 2pm at The Women’s Jail at ConHill.
Television has a strange way of making hard work look effortless. By the time South Africa settles in to watch Expresso, the cameras are already rolling, the lights are on and everything appears to be exactly where it needs to be.
The smiles are ready. The conversations are flowing. The energy feels natural.But television does not simply happen. Long before viewers hear that first good morning, someone has already been awake for hours, coffee in hand, making sure the machine is moving.
Her day starts at around 02h30, while most of the country is still asleep. At 04h00, she is already making sure Zanele Potelwa is awake. By 04h30, the studio is open.
Makeup starts shortly afterwards while the production team prepares the cameras, wardrobe and sound. Before 06h00, another meeting takes place with the director to determine exactly where the Johannesburg segments will be filmed.
For the viewer, it is simply morning television. For her, it is the final product of hours of preparation, communication, decision making and quiet pressure that nobody at home ever sees.The people behind the scenes are constantly moving.
They are making decisions, solving problems, communicating with different teams and trying to make sure everyone understands what needs to happen next. When everything goes right, nobody notices. When something goes wrong, everybody notices. That is the reality of working behind the scenes.
And when you are responsible for leading people, the pressure becomes even greater.“Being a leader is not an easy task,” she says, and there is no attempt in her voice to make it sound glamorous. For her, leadership is about people. It is about listening. It is about finding solutions. It is about creating an environment where people feel comfortable enough to do their jobs properly. It is also about knowing when to speak, when to listen and when to step in.
“You have to genuinely care about humans to be able to do this,” she says simply. That sentence perhaps explains more about her leadership style than any job title ever could.Television may ultimately be about what appears on screen, but the people creating it are human beings.
They arrive with different personalities, different pressures and different responsibilities. The way those people work together can determine whether a production feels chaotic or controlled. That makes communication essential.She believes in being honest about what works and what does not, while making sure everyone remains aligned.
It sounds simple, but anyone who has worked in television knows that keeping an entire production team on the same page is anything but. There are schedules to follow, people to contact, talent to prepare, segments to arrange, and sudden changes to absorb. And then there are the unexpected problems that simply appear because, in television, something almost always does.
The workload does not stop with Expresso either. There are other major productions demanding her attention, including Top Billing and Tropika Island of Treasure. At times, it can feel as though there are a hundred conversations happening at once.So how does she manage it?
Her first response says almost everything.“Yohhh!!!” she laughs. “I don’t know how I do it, but IT GETS DONE. LOL!!!”
There is something wonderfully human about that answer. Because sometimes there is no perfect explanation for how people manage enormous workloads. You simply keep moving. You answer the next call.
You solve the next problem. You walk onto the next set. And somehow, the show gets made.“We’re a bunch of clowns I can tell you that much,” she jokes, and the humour hides something important. It is part of the survival mechanism. Television can become intense very quickly. Deadlines are tight. Expectations are high. Everyone is waiting for something.
A guest could arrive late. A segment could change without warning. A technical issue could suddenly appear out of nowhere. Yet somewhere inside all of that pressure, there is still room for laughter, for the kind of shared joke that only a tired crew at 5am would find funny. That matters more than people realise.A team that trusts each other can handle pressure differently from a team that does not. When people feel comfortable with one another, they communicate better.
They ask questions. They admit when something is not working. They find solutions instead of simply looking for someone to blame. And eventually, the audience feels the difference, even if they could never explain why.For her, waking up the nation every morning on Expresso is not simply about producing another television show.
There is a responsibility attached to knowing that people across South Africa are beginning their day with what happens inside that studio. The energy matters.“Energies are easily transferred,” she explains. It is a simple observation, but anyone who has watched live television understands it. A presenter can feel the atmosphere in the studio. A producer can feel it.
A guest can feel it. The crew can feel it. Eventually, the viewer feels it too, curled up on their couch with a cup of tea, without ever knowing why the show feels warm that morning.That is why the relationship between production and talent is so important. When people trust each other, they become more relaxed. When they are relaxed, conversations become more natural.
When conversations become natural, viewers are given something that cannot easily be scripted. A human moment.And perhaps that is one of the greatest rewards of her work. Not being seen. But helping somebody else be seen.One of the things she treasures most is the chance to give new artists their first television appearance and performance on Expresso. For an established star, appearing on television can be another day at work. For an emerging artist, it can be everything.
It can be the first time their family sees them on national television. It can be the first time an industry decision maker notices them. It can be the moment when something they have spent years dreaming about, alone in their bedroom or a small studio somewhere, suddenly becomes real in front of the whole country.
She remembers artists including Jazzwrld, Thukuthela and GL Ceejay, who experienced their first television moments on Expresso and have since gone on to build global profiles. She also lights up talking about Maskandi artist Feza, who had his first television experience on the show and has since achieved significant success with his music.
“These kinds of success stories will forever stay with me,” she says, and you can hear the pride in it.That may be one of the most powerful parts of her story. Because the biggest achievement is not always the one attached to your own name. Sometimes it is knowing that you helped someone else take their first step.
The recognition she has received has not changed that belief. Instead, it has given her another way of thinking about the value of the work happening behind the scenes.”The spotlight doesn’t make the contribution more important than it was before, but it validates the effort,” she reflects.There is truth in that. For years, television audiences have grown used to seeing the presenter, the celebrity and the guest while rarely thinking about the people making the moment possible.
The producer. The director. The camera operator. The makeup artist. The wardrobe team. The floor team. The runners. The coordinators. The people making phone calls while everyone else is still asleep.
They may not appear in the final frame, but their fingerprints are all over it.And perhaps that is why her story matters. It reminds us that television is not created when the red light comes on. It is created in the hours before. It is created in preparation.
It is created in conversations. It is created in problem solving. It is created in the people who keep going when nobody is watching.For anyone hoping to enter the South African television industry, her advice is refreshingly down to earth. Build relationships. Volunteer. Get involved. Take the opportunities that put you in the room. Not every opportunity will look like the dream job you imagined.
Sometimes the first step is simply being useful, dependable and willing to learn.”Relationships and practical reliability open doors much faster than a degree alone,” she says.It is advice grounded in the reality of the industry. Qualifications have their place, but television is also built on trust.
People need to know that when the pressure arrives, you will show up. They need to know that you can communicate. They need to know that you can work with others. Those relationships can become the foundation of an entire career.
Away from the cameras, however, there is another side to her. Despite spending so much of her life surrounded by television, music, events and famous personalities, she describes herself as a homebody at heart. She can cancel plans simply because staying at home, in her own space, sounds better. And when she does step out, there is usually a reason close to her heart. She wants to support her siblings. She wants them to experience the industry.
She wants to create opportunities for people she believes in, the way people once did for her.That part of her story brings everything back to where it started. People. Family. Opportunity. Purpose. Behind the early mornings, the busy sets, the television personalities and the constant movement is someone who still finds joy in music, someone who remains grounded by family and by her own personal struggles, and someone who continues to appreciate the opportunities this industry has placed in front of her.There is no perfect television day.
There are only days when the team figures it out together. Some mornings are smooth. Others are chaos. Some guests arrive prepared. Others require more work than anyone expected. Some segments go exactly as planned. Others force everyone to improvise on the spot. But the cameras still come on. The presenters still smile. The conversation still begins. And South Africa still watches.That is the beauty of television. The audience gets to see the magic without ever seeing the machinery behind it.So the next time Expresso comes on in the morning, remember that the day did not begin when the cameras switched on.
It started hours earlier, in the dark, with an alarm at 02h30. She was already awake. Preparing. Communicating. Solving problems. Checking on people. Moving between conversations. Making decisions. Keeping the show alive.The audience sees the finished product. She lives the process.And somewhere between the 02h30 alarm, the early studio calls, the pressure, the laughter, the long conversations and the constant movement, there is a career built around one simple idea. Make the show work.
Take care of the people. And when the opportunity comes, open the door for somebody else.Because sometimes the people who make the biggest difference on television are the very people the audience never gets to see.
Thabiso Rammusi is stepping into a new chapter, and this time, the spotlight is shining even brighter.The South African actor joins the cast of Netflix’s highly anticipated Seriously Single Too, the sequel to the popular 2020 romantic comedy.
The film is set to premiere on 16 October 2026, marking another major milestone in Rammusi’s steadily growing screen career.For audiences who know him as Mpho from Adulting, this latest role presents an opportunity to see the actor in a different light. Across three seasons of the hit Showmax drama, Rammusi established himself as a performer capable of bringing complexity, emotion and authenticity to challenging characters.His journey has also included appearances in The Suit, Magenge and Netflix’s Happiness Is.
Each role has added another layer to an actor who continues to expand his range.Now, Seriously Single Too takes him onto an even bigger stage.The film returns with familiar faces, including Tumi Morake, Fulu Modibedi and Yonda Thomas, while introducing new energy through performers including Buntu Petse, Keke Mphuthi and Rammusi. Set against the backdrop of Cape Town, the story follows a bachelorette getaway that takes an unexpected turn.
For Rammusi, it is more than another credit.It is a chance to introduce himself to a wider Netflix audience while showing that his career extends far beyond the character that first made him widely recognised.The Mpho chapter opened the door. Seriously Single Too could be the chapter that opens an entirely new one.On 16 October 2026, audiences will get to see what Thabiso Rammusi brings to the next stage of his journey.And this time, the stage is Netflix.
Transfers can look simple from the outside. A player leaves one club, another club makes an offer and suddenly supporters believe they know the whole story. For Bance, however, the journey from Marumo Gallants to Chippa United was far more complicated.
His first season at Marumo Gallants came with its share of challenges. Bance describes it as a campaign filled with highs and lows, but one that taught him valuable lessons about professional football.
“My season with Marumo was really not bad, a season filled with highs and lows,” he says. From that experience, he took perseverance, hard work, discipline and hope. “Nothing is easy and nothing is given as a gift.”
Leaving Marumo was therefore not about creating controversy. Bance says the decision was primarily based on the sporting side of his career and was made after discussions with the people around him.
“As I said, there were highs and lows, which is part of life,” he explains. “But the decision was based mainly on the sporting side, in consultation with the people around me.”
Then came the transfer speculation. Bance admits that transfer windows are filled with rumours, with some stories true and others completely false. For him, genuine interest becomes clear when clubs present concrete offers and serious projects.
“The clubs that are most interested make concrete offers followed by a project,” he says. “It is the most convincing ones that manage to attract players. At that game, Chippa United came out on top.”
One of the biggest stories surrounding his future involved Kaizer Chiefs. Yet Bance says he was not even fully aware of the speculation until supporters and journalists began contacting him about a possible move.
“I honestly did not really know what was going on until Kaizer Chiefs supporters and some journalists contacted me,” he says. There had been a brief conversation with an agent about Chiefs in December last year, but Bance insists that nothing concrete came from it.
Behind the scenes, there were other possibilities too. Bance reveals that two, even three clubs came close to signing him, but ultimately something more personal influenced his decision.
“There were two, even three other clubs that came very close to signing me,” he says. “But the feeling at the last moment tipped the balance.”
That feeling came with Chippa United. Bance says the club presented a convincing plan, a clear project and a concrete offer. The club’s president also made it clear how strongly he wanted Bance in the squad.
“Chippa was more convincing in its plan, its project and more concrete in its offer,” he says. For Bance, that personal approach mattered. He was not simply joining a club. He was joining a project where he felt wanted.
His relationship with Mike Makaab and his team has also become an important part of the next stage of his career. Bance says their discussions went beyond football and focused on his qualities, areas for improvement and his long term career plan.
“We were therefore on the same wavelength,” Bance says. He also praises Makaab’s experience and the work done by his team. “To be the best, you have to work with the best, they say.”
Now the talking has to stop and the football has to begin. Bance wants to make his presence felt at Chippa United through his attitude, discipline and performances.
He has identified specific areas where he wants to become more decisive, including playing out from the back, winning possession, scoring goals, creating assists and contributing from set pieces.
His ambitions are not only personal. Bance wants to help Chippa United compete for trophies while proving that the faith placed in him was justified.
“I will do everything I can to be at my best in order to satisfy everyone who believed in me,” he says. His goal is to become a key player who can help his teammates and the club go as high as possible.
The dream is clear. Bance wants to challenge for the league title and win cups while establishing himself as one of the important players in the squad and the championship.
“The ideal scenario is to be league champions and win a few cups,” he says. But he knows ambition alone will not be enough. “To get there, we will have to work very seriously.”
That may be the clearest message from Bance’s journey so far. The rumours, the interest from different clubs and the Chiefs speculation will eventually disappear into the background.
What will remain is the work. Marumo gave him lessons, Chippa has given him another opportunity and now Bance has to turn that opportunity into something meaningful. His philosophy is simple: go where you are wanted, work for what you want and never expect anything to be handed to you.
Super-Telephoto Prime Lenses, the World’s Lightest[i] Lenses in Their Class
Offering Excellent Control for Handheld Shooting and High Imaging Performance
FE 400mm F4.5 GM OSS (left) and FE 600mm F6.3 GM OSS (right)
(SOUTH AFRICA, 16 September 2026) – Sony announces two new G Master™ super telephoto prime lenses for the Alpha™ full-frame E-mount system, the FE 400mm F4.5 GM OSS with a focal length of 400mm and the FE 600mm F6.3 GM OSS with a focal length of 600mm, both are the world’s lightest1 lenses in their respective categories.
The FE 400mm F4.5 GM OSS weighs approximately 994g[ii] and the FE 600mm F6.3 GM OSS approximately 995g2, achieving the world’s lightest1 design in their respective categories. Their lightweight design makes them suitable for dynamic shooting styles that involve exploring the environment to identify and capture photographic opportunities and subjects. In addition, their carefully optimised weight balance provides excellent control during handheld shooting, including situations that require photographers to continuously keep subjects framed or track moving subjects. These features broaden the flexibility of super telephoto photography for subjects such as birds, wildlife and sports.
The lenses deliver the exceptional resolution and beautiful bokeh that define the G Master series across the super telephoto range, capturing distant subjects in fine detail. In addition, fast, precise and quiet AF performance enables photographers to quickly capture fast-moving subjects.
Availability
The FE 400mm F4.5 GM OSS will be available in South Africa from mid November 2026, at a retail price of R59,999. The FE 600mm F6.3 GM OSS will also be available in South Africa from mid November 2026, at a retail price of R84,999.
Key Features of the FE 400mm F4.5 GM OSS and FE 600mm F6.3 GM OSS
Lightweight and Compact Design with Excellent Handling for Super Telephoto Shooting
The FE 400mm F4.5 GM OSS weighs approximately 994g2 and the FE 600mm F6.3 GM OSS approximately 995g2, achieving the world’s lightest design1 in their respective categories.
The FE 400mm F4.5 GM OSS measures approximately 108 mm in maximum diameter and 242 mm in length, while the FE 600mm F6.3 GM OSS measures approximately 108 mm in maximum diameter and 263 mm in length. Their compact dimensions enhance portability and enable comfortable handling and control during handheld shooting.
In addition, a weight balance designed to shift the centre of gravity closer to the camera body makes it easier to maintain framing on a subject, track moving subjects and perform panning shots. The lightweight design and ease of handling increase flexibility in super telephoto photography, making it easier to search for subjects while shooting handheld especially even in environments where a tripod or monopod may be difficult to use, as well as during long handheld shooting sessions.
High Resolution and Beautiful Bokeh Characteristic of G Master
The latest optical design incorporating three Super ED (Extra-low Dispersion) glass elements and one ED glass element effectively suppresses chromatic aberration and other optical aberrations that commonly occur at super telephoto focal lengths, delivering high resolution from the centre of the image to the edges.
Sony’s proprietary Nano AR Coating II significantly reduces ghosting and flare even in backlit conditions, delivering clear and crisp imagery.
In addition, an 11-blade circular aperture and optimisation of spherical aberration during both the design and manufacturing processes achieve the beautifully smooth bokeh characteristic of G Master.
Fast, Precise and Quiet AF Performance and Optical Image Stabilisation for Stable Super Telephoto Shooting
Two XD (extreme dynamic) Linear Motors and a control algorithm optimised specifically for these lenses deliver fast, precise and quiet AF performance. This enables reliable tracking of fast-moving subjects such as birds, wildlife and sports. The lenses are fully compatible with Alpha 9 III continuous shooting at up to 120 fps with AF/AE tracking.[iii]
The lenses incorporate built-in optical image stabilisation, helping to reduce camera shake during handheld shooting at super telephoto focal lengths.
The lenses also support the camera body’s Active Mode image stabilisation and coordinated image stabilisations control[iv], enabling high-quality still-image and movie shooting with reduced blur, even when shooting handheld. Furthermore, it supports the camera body’s breathing compensation function[v], which corrects changes in angle of view caused by shifts in focus position during movie recording.
Operability, Reliability and Expandability for Super Telephoto Photography
Aiding in the excellent operability, four customisable focus hold buttons are positioned around the lens barrel.
The lenses are also equipped with a function ring, focus range limiter, Full-time DMF switch, focus mode switch and image stabilisation mode switch, enabling intuitive operation according to different shooting styles.
Compatible with Sony’s optional teleconverters[vi], the FE 400mm F4.5 GM OSS can achieve focal lengths of up to 800 mm, while the FE 600mm F6.3 GM OSS can achieve up to 1200 mm.
The lenses feature a dust and moisture resistant design[vii] and a fluorine coating on the front lens element that helps resist contaminants, supporting use in a variety of outdoor shooting environments.
The FE 400mm F4.5 GM OSS & FE 600mm F6.3 GM OSS product video can be viewed HERE.
Exclusive stories and exciting new content shot with the new FE 400mm F4.5 GM OSS & FE 600mm F6.3 GM OSS and Sony’s other imaging products can also be found at https://www.alphauniverse-mea.com/, a site created to inform, educate, and inspire creators.
There appears to be a change coming at the top of Kaizer Chiefs’ commercial structure.
According to a source close to the club, Jessica Motaung is stepping down from her position as Marketing Director of Kaizer Chiefs. Importantly, this does not mean she is leaving the club altogether — our source says Motaung will remain on the board.
The move would mark a change in a role Motaung has occupied for years, while her involvement in football has increasingly stretched beyond the day-to-day commercial work at Naturena.
Motaung has also been busy with CAF-related responsibilities, while continuing to represent Chiefs on major commercial platforms. As recently as June, she was publicly involved in the launch and organisation of the 2026 Toyota Cup, with Chiefs officially identifying her as the club’s Marketing Director.
At that launch, Motaung spoke about the importance of the Toyota Cup and the club’s preparations for the new season.
«“The match is important preparation for the team and new coach before we kick off the 2026/27 season.”»
She also spoke about Chiefs’ wider ambitions, saying:
«“This is an important season for us as we build on the foundation that has been laid last season.”»
But there was one interesting detail surrounding the Toyota Cup.
Our source has revealed that Motaung was not part of the Kaizer Chiefs delegation for the Toyota Cup fixture in July, despite her involvement in the build-up and commercial side of the tournament.
That detail, on its own, does not tell us why she was absent. But alongside the reported change in her executive responsibilities, it naturally raises questions about what is happening behind the scenes at Naturena.
And there is another important piece to this story.
Kaizer Chiefs appointed Bheki Shongwe as the club’s new Group Chief Executive Officer in May 2026. The club said Shongwe would oversee the day-to-day running of the organisation, report to the chairman and board, and work closely with the various heads of department.
Shongwe is not an outsider. Chiefs described him as someone who already understands the organisation, having previously served as a non-executive director and as Managing Director of the club between 2009 and 2012.
So, is this simply a restructuring of responsibilities?
Or is the arrival of a new Group CEO beginning to reshape how Kaizer Chiefs operates?
For now, that remains a question rather than an established fact.
What we do know is that Motaung’s role at Chiefs appears to be entering a different phase. She is reportedly stepping away from the Marketing Director position, but is expected to remain within the club’s boardroom.
And perhaps that is the most important part of the story.
This is not necessarily goodbye to Jessica Motaung at Kaizer Chiefs. It may simply be a change in where she sits within the organisation — and how much of the club’s daily commercial operation she is directly involved in.
Darkie Magazine will continue to follow the story as more information becomes available.
There is something deeply personal about music for BlaqRaven. For the rising Afro Soul artist, music is more than sound – it is a language of emotion, memory, love and resilience.As she steps into a new chapter with the release of her latest music, BlaqRaven is introducing audiences to a sound that is both honest and expressive.
With “Secret Admirer” bringing a playful, flirtatious energy and “Ngahamba” carrying a deeper message about love, perseverance and hope, the artist is showing that she is not afraid to explore different sides of herself.But behind the music is a story that started long before the studio.
𝐀 𝐍𝐀𝐌𝐄 𝐁𝐔𝐈𝐋𝐓 𝐎𝐍 𝐒𝐓𝐑𝐄𝐍𝐆𝐓𝐇
The name BlaqRaven carries a meaning that reflects the artist herself.“BlaqRaven is a combination of the ethnicity and a great bird that I strongly relate to,” she explains. “The resilience and strength of a raven, and just how beautifully it soars when flying at its highest.”That sense of resilience is central to BlaqRaven’s identity. It is reflected not only in her name, but also in the music she creates and the journey she is embarking on.
𝐌𝐔𝐒𝐈𝐂 𝐖𝐀𝐒 𝐀𝐋𝐖𝐀𝐘𝐒 𝐏𝐀𝐑𝐓 𝐎𝐅 𝐇𝐄𝐑 𝐋𝐈𝐅𝐄
For BlaqRaven, discovering music was not something that happened overnight. It was something she grew up surrounded by.“My father used to listen to all types of genres when I was growing up – on road trips, Sundays while having our family lunch after church, and during the week after long days after work,” she recalls.“Everything revolved around music, and I easily adapted to his ways of using music for physical, mental and emotional support.”She also credits her mother’s musical influence.“Not forgetting my mother’s love for soulful ballads and raw African-style music from your Mabhrrr’s. It all embodies who I am musically and how rich I am in my knowledge of music.”
Those childhood experiences helped shape her understanding of music as something much bigger than entertainment. For BlaqRaven, music became a source of connection, expression and emotional support – influences that continue to find their way into her artistry today.
𝐅𝐑𝐎𝐌 𝐌𝐀𝐑𝐈𝐀𝐇 𝐂𝐀𝐑𝐄𝐘 𝐓𝐎 𝐒𝐄𝐂𝐑𝐄𝐓 𝐀𝐃𝐌𝐈𝐑𝐄𝐑
When asked which song she would choose to perform from another artist’s catalogue, BlaqRaven immediately chooses Mariah Carey’s “Hero.”It is a fitting choice for an artist whose own journey is rooted in strength, resilience and emotional expression.
Her own song “Secret Admirer,” however, reveals a much more playful side.“Lol… people should know that this song is simply just allowing you to tell your crush that you’ve been eyeing them, but in a subtle way,” she says.
The song captures that exciting stage of attraction- when someone has caught your attention, but you are not quite ready to say everything out loud.It is flirtatious, happy and fun- three words BlaqRaven uses to describe the feeling behind the track.
𝐓𝐇𝐄 𝐋𝐎𝐕𝐄 𝐁𝐄𝐇𝐈𝐍𝐃 𝐍𝐆𝐀𝐇𝐀𝐌𝐁𝐀
1While “Secret Admirer” brings light-hearted energy, “Ngahamba” explores a much more emotional space.For BlaqRaven, the inspiration behind the song comes down to one powerful word: love.“This song is a beautiful reminder that never giving up can actually go a long way,” she says. “And as long as you believe in the concept of love, you will eventually get the love that you feel you deserve.”Of the two songs, it is “Ngahamba” that feels the most personal to her.Describing the track in three words, she chooses: emotional, honest and freeing.
Those words offer a glimpse into what listeners can expect from BlaqRaven – music that does not shy away from vulnerability, while still allowing the artist to express herself freely.
𝐀 𝐍𝐄𝐖 𝐂𝐇𝐀𝐏𝐓𝐄𝐑
With both songs now representing different sides of her artistry, BlaqRaven is ready to move forward with confidence.Asked what fans can expect from her for the rest of 2026, her answer is simple:“Definitely both.”She is referring to both the playful and emotional sides of her artistry – and she intends to embrace them fully.“BlaqRaven is prepared to take the music world by storm and step into all the rooms that have been waiting for her to enter.”
It is a statement that perfectly captures where she stands right now: ambitious, confident and ready.With her Afro Soul foundation, a deep understanding of music shaped by her family and a willingness to tell stories through emotion, BlaqRaven is beginning to carve out her own space.The raven has taken flight – and this time, she is aiming higher than ever.
