Author Archives: Bhavya Desai

‘Faraq Padta Hai’

The photography and imaging industry is constantly changing. Over the last decade it has faced increased competition from other imaging devices, especially smartphones—with many writing off cameras to become redundant in the near future. However the industry has shown resilience and continues to grow despite its challenges. But what is the future like? Bhavya Desai spoke to Mukesh Srivastava, Head of Imaging Business (Professional & Consumer Cameras), Sony Electronics on what’s in the long haul. Excerpts:

In the long haul, what is your assessment of the industry?

The imaging industry has always thrived on transformation—from DSLRs to mirrorless technology and now Artificial Intelligence. Each shift opens new possibilities in storytelling. As audiences evolve, so do creators—from established professionals in weddings, wildlife, film, and fashion to emerging content creators from Tier 2 and 3 cities driven by online learning and influencer culture.

The future lies in hybrid solutions that deliver both exceptional stills and cinematic video. Innovation now focuses on versatility—empowering every creator to tell stories without compromise.

Where do you think the next big growth in the industry is coming from?

The creator economy is reshaping how content is consumed. This was evident at this year’s WAVES Summit, where Prime Minister Narendra Modi highlighted its potential. Conversations extended to drones, micro-dramas, short-form storytelling, and even bodycams—signalling how imaging is broadening across industries like agriculture, logistics, and surveillance.

The future will be defined by how effectively technology empowers creators—simplifying workflows, enhancing connections, and expanding influence across audiences and cultures.

What are the current challenges for Sony today and how are you navigating them?

Our biggest challenge is clearly communicating the value of our extensive camera lineup. The needs of professionals, vloggers, and hybrid creators vary widely. To address this, we’re investing in hands-on workshops, short-form videos, and Alpha Classroom—helping users understand which product fits their creative journey. Whether online or in-store, our goal is to make each camera’s value clear and accessible.

How do you see the current imaging market in India evolving—are enthusiasts driving growth, or is it professionals?

India’s market has long been anchored by professionals, but a growing segment of enthusiasts and semi-professionals is now upgrading from smartphones. This mid-tier segment is fuelling growth, making India one of the most dynamic imaging markets globally. Today’s enthusiasts are tomorrow’s professionals, and they are elevating creative standards.

Smartphones are getting more advanced—how does Sony position its cameras in this competitive landscape?

Smartphones have made photography accessible—and that’s a good thing. They’ve rekindled interest in image-making. But as creators seek more control, Sony steps in. Our ‘Faraq Padta Hai’ campaign encourages amateurs to rediscover the joy of photography and capture better images with Sony cameras.

We position our products as tools for creative control – offering superior dynamic range, interchangeable lenses, and cinematic quality, while ensuring intuitive connectivity for an easy transition from smartphone to camera.

Do you see younger creators (YouTubers, content creators, vloggers) influencing Sony’s India strategy?

Absolutely. Young YouTubers, vloggers, and influencers are driving trends in short-form video, live streaming, and hybrid content. Their need for lightweight, connected, and affordable gear directly shapes our product design and marketing.

Their feedback informs everything—from autofocus and touch interfaces to app integration—ensuring every touchpoint reflects their aspirations and supports their creative journey.

iPhone 17 Pro Camera Review: Is This Apple’s Most Serious Camera Yet?

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Watch our video review

The iPhone 17 series is here — and while the regular models got camera tweaks, the Pro lineup takes a major leap forward. All three rear cameras now feature upgraded 48 MP sensors, signalling Apple’s ambitious move in mobile photography yet.

Starting at ₹1,34,900, I’ve been using the iPhone 17 Pro as my daily driver for two weeks, snapping over 500 photos. Here’s what stood out:

Design: A Functional Plateau

Apple calls it the ‘camera plateau’ — and it’s got the internet split. Some love it, some don’t. But there’s no denying that Apple’s sleek design language has shifted toward function over form this year.

The raised module now packs the A19 Pro chip, creating more room for a larger battery, and even a vapour cooling chamber beneath. There’s also an antenna band built into the ridge for stronger 5G reception — and yes, I actually noticed a slight signal boost.

Surprisingly, this chunkier design helps the phone rest flat on a desk. But you’ll likely use it with a case anyway.

Hardware: What’s New Under the Hood

The iPhone 17 Pro’s camera setup brings some serious upgrades:

Triple 48 MP Fusion Cameras at the back
18 MP front camera with a square sensor and Centre Stage
A19 Pro chip paired with 12 GB RAM
4K video at 120 fps, plus ProRes RAW and Genlock
Updated Photonic Engine for richer colour and better low-light shots.

Daylight Main Camera Shines

The primary 48 MP Sony IMX903 sensor outputs detailed 24 MP images, thanks to smart pixel-binning and sensor cropping. Colours are punchy yet natural, contrast is balanced and highlight control is excellent. For the first time, though, I did spot some processing in the images – a first for me. At 2x zoom, resolution drops to 12 MP, and you lose a bit of texture. It’s still solid, but pixel peepers will notice.

Ultra-Wide: A Turnaround

Ultra-wide cameras have traditionally been weakest link for most phones. The 48 MP Sony IMX972 ultra-wide delivers surprisingly crisp images even in tricky lighting. It handles shadows and highlights gracefully, and while there’s mild processing visible up close, overall dynamic range and colour reproduction are good.

Telephoto: The Showstopper

This is where Apple flexes. The new 48 MP Sony IMX973 telephoto sensor is 56% larger than last year’s and offers 4x optical zoom, 8x optical-quality zoom and digital zoom up to 40x.

At 4x and 8x, images are razor-sharp with rich tonality and texture. Even at 20x or 40x, detail retention is decent — though you’ll spot some colour shifting and processing artefacts.

It’s easily the most usable long zoom ever on an iPhone. My only gripe: AE lock could be steadier, especially at higher zooms.

Low-Light Performance

Low-light shots are vibrant, clean and accurate, with minimal visible processing. The main camera captures sharp, noise-free results. The wide sensor holds its own, though fine details fade a little. The telephoto, however, continues to stand out — retaining clarity even at long zooms, something previous iPhones struggled with.

Portraits: Natural and Cinematic

Portrait mode now lets you choose 1x, 2x, 4x, and even 5x. Skin tones look authentic, colours pop naturally, and edge detection is spot-on. Occasionally, I noticed minor skin smoothing and some distortion at 4x, but overall, portraits are pleasing, refined and cinematic – sure to be a hit with the users.

Macro: Detailed but Confused

Macro mode still activates automatically — and sometimes overstays its welcome. It occasionally stays locked in 12 MP mode – due to the minimal focusing distance, even when it should switch back to 24 MP, it doesn’t.

Despite this, macro shots are shockingly detailed, with rich depth and texture that make you forget they’re technically half-resolution.

Front Camera: Smarter, Sharper Selfies

The all-new 18 MP front camera features a square sensor and Centre Stage, which adjusts framing dynamically as you move. Selfies are crisp, well-lit and colour-accurate — with minimal low-light noise.

Apple’s dual capture mode also makes it easier for vloggers to record front and back simultaneously — a thoughtful touch for creators – but it’s not for me personally.

Video: Still the Gold Standard

When it comes to smartphone video, Apple remains in a league of its own. The iPhone 17 Pro shoots 4K at 120 fps, supports ProRes RAW, and can now record directly to external devices for advanced workflows.

Footage is smooth, stabilisation is top-notch (thanks to 3D sensor-shift), and the phone handles heat exceptionally well. There’s still some lens flare and ghosting, but overall, this feels like a mini cinema camera in your pocket.

Battery Performance

With a 3,988 mAh battery, the 17 Pro comfortably lasts a full day — even with heavy photo and video use. The new vapour cooling chamber keeps temperatures in check during long recording sessions or gaming. For creators who push their phones hard, this is a quiet but meaningful upgrade – although coming from a Max it does feel like a compromise.

Verdict

I think the iPhone 17 Pro marks one of Apple’s biggest leaps in mobile photography in years.
Photographs are sharper, colours are truer, and the telephoto system finally delivers usable long-zoom shots.

But there are still some quirks — visible processing in some scenes, occasional colour shifts, and macro confusion — but none are deal-breakers. With improved battery life, cooling and professional-level video tools, the 17 Pro is a capable, pro-grade camera system that fits in your pocket.

Xiaomi 15 Review

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The latest addition to Xiaomi’s flagship series has landed, and we’ve spent the past few weeks testing the Xiaomi 15. Priced at ₹64,999—and around ₹59,999 with card offers—this compact phone carries forward Xiaomi’s strategy of delivering solid performance without hiking the price over last year’s 14 which we reviewed last year. With its continued Leica collaboration, let’s dig into the camera system of the 15.

Look, Body & Feel

There are a few noticeable changes to the design this time around. The square camera module—a Xiaomi staple—still defines the back, but it now looks visibly slimmer from the side, with more pronounced camera rings. The flash has shifted position and now sits outside the main module. The glossy back from the 14 has been replaced with a more refined matte glass finish. The fingerprint sensor has also been moved slightly higher, making it easier to reach.

What stands out most is the overall form factor: the Xiaomi 15 feels smaller, lighter, and better balanced in the hand. It’s hard to pinpoint, but the size, weight and grip combine to make this device feel more refined and comfortable to use.

Camera Specs

Let’s get into the numbers:

Rear Cameras: Triple 50MP setup (a step up from the 14)
Front Camera: 32MP sensor, f/2.0 aperture
Processor: Snapdragon 8 Gen Elite
Software Support: 4 years of OS updates, 6 years of security patches
Configuration: Only one variant – 12GB RAM + 512GB storage

Daylight – Main Camera

The main camera features the same 50MP Light Fusion 900 sensor as the Xiaomi 14. The images output at 14.5MP and, overall, are decent. We tested all shots on the Leica Authentic mode, but even then, the photos leaned heavily towards saturation. Colour accuracy and dynamic range were impressive—scenes like cloud-filled skies were captured beautifully without shifting hues.

However, there were notable issues with shadows and highlights, especially in high-contrast scenarios, leading to some underexposed results. Most disappointingly, zooming in on these images reveals clear pixelation and a noticeable drop in clarity. Distortion is also a problem, making it feel less polished than expected.

Daylight – Wide Camera

The ultra-wide camera uses the same 50MP Samsung ISOCELL JN1 sensor found in the 14, outputting at 14.45MP. It performs reasonably well. There’s no colour shift, and the tonal balance, highlights, and shadows are slightly better than the main camera.

Dynamic range and contrast are good, but distortion is an issue again. Zoomed-in clarity also struggles.

Daylight – Telephoto Camera

Xiaomi 15 features a 50MP floating telephoto lens with the Samsung JN5 sensor. This offers up to 60x digital zoom with 2.6x optical zoom. Up to 2.6x, image quality holds up—photos are sharp and usable. Between 5x and 10x, sharpness drops off, though some shots remain passable. Beyond 10x (particularly around 230mm), quality falls off a cliff. At 60x, images suffer from colour shift, fringing, and general un-usability.

Interestingly, telephoto shots are the most vibrant of the lot, despite using the same Leica Authentic setting. Distortion is still a weak point, but at least colour consistency remains solid, even at higher zoom levels.

Macro

The telephoto lens doubles as a macro shooter, and performance here is strong. Like the 14, the Xiaomi 15 delivers sharp, vibrant macro images, allowing you to get as close as 10cm to the subject. Tonal range and detail are impressive—even when zoomed in. This is one of the camera’s standout features.

Low-Light Performance

With the same sensor but a newer processor, don’t expect a leap in low-light capabilities. The main camera produces decent images—processed but saturated and vibrant. Sharpness isn’t its strength in these conditions, which is par for the course.

The ultra-wide follows suit: images are colourful and poppy but lack fine detail. That said, it handles tonal range a bit better than the main camera and appears less over-processed. There is also occasional flaring.

Surprisingly, the telephoto camera performs better than expected in low light—up to 2.6x. Images are sharp and usable, although some colour shift occurs (the mustard pillow test being a case in point). Beyond 3x, pixelation creeps in, and image quality deteriorates quickly.

Portrait Mode

Portraits on the Xiaomi 15 come with Leica’s full suite of effects and the option to shoot using different lenses. The results are generally pleasing—natural, vibrant colours and good dynamic range, even when capturing skies behind the subject (e.g. Rajan’s portrait).

However, edge detection is hit or miss. Some portraits lock onto the subject beautifully; others miss focus entirely. Sometimes, over-sharpening makes edge detection worse. Colour shifting was also noticeable in side-by-side comparisons.

Zoomed-in portraits introduce more distortion and don’t hold up well under scrutiny. In low light, colour accuracy dips further, and exposure inconsistencies are evident—e.g., the orange t-shirt appearing washed out or oversaturated.

Front Camera

The front camera sports a 32MP sensor, f/2.0 aperture and a 22mm equivalent lens. It delivers decent results in both daylight and low-light conditions, with vibrant colours and fair dynamic range. Nothing groundbreaking, but good enough for most use cases.

Video

The Xiaomi 15 shoots up to 8K at 30fps (a step up from the 14), and 4K at 60fps. Video performance is solid. Even in low light, footage looks clean, and stabilisation deserves special mention—it’s smooth and reliable across scenarios.

Conclusion

So, what’s the verdict on the Xiaomi 15’s cameras? Honestly, they’re a bit of a let-down. After the solid performance of the 14, expectations were high—especially since the price hasn’t changed much. But the camera system feels inconsistent. Yes, the images are eye-catching—vibrant and saturated—but under the surface, issues with clarity, sharpness, distortion, and edge detection stand out.

There’s potential here, and perhaps software updates will help smooth things out. It’s frustrating because the Xiaomi 15 nails so many other aspects: sleek design, great build, powerful internals, and long-term software support. But for a phone with Leica’s name attached, the camera should’ve been the star, not the compromise.

OnePlus 13 vs Vivo X200 Camera Test

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The semi-premium camera phone segment is a highly competitive space, with manufacturers continuously pushing the boundaries of innovation. Over the years, these devices have become more feature-packed – and more expensive. Both the OnePlus 13 and Vivo X200 come with a triple-camera setup, making the camera system a key factor in their appeal. Today, I’ll find out which of these two delivers the better camera performance.

Camera Setup

OnePlus 13 Camera Setup:

50 MP triple-camera system, co-developed with Hasselblad
Main Camera: Sony LYT-808 (same as Oppo X8 Pro), features ALC coating
Ultrawide Camera: Samsung JN5
Telephoto Camera: Sony LYT-600
Front Camera: 32 MP Sony IMX615, doubles as an island
Processor: Snapdragon 8 Elite

Vivo X200 Camera Setup:

50 MP triple-camera system with Vario-Tessar branding
Main Camera: Sony IMX921 sensor
Ultrawide Camera: Samsung JN1 sensor
Telephoto Camera: Sony IMX882 (3x optical zoom | 100x digital zoom | 15cm macro)
Front Camera: 32 MP ƒ/2 (Ultra Wide)
Processor: MediaTek Dimensity 9400

Since my initial review in the January 2025 issue, both phones have received multiple software updates. If you want to check out that review, you can visit our website.

Daylight Performance

Main Camera

Both phones feature a 50 MP sensor, but the OnePlus 13 outputs images at 14.6 MP, while the Vivo X200 outputs at 14.3 MP. The OnePlus uses the Sony LYT-808 sensor, whereas the Vivo houses the IMX921 sensor.

In terms of image quality, both phones produce noticeable differences. The OnePlus 13 tends to have a slight reddish tint, whereas the Vivo X200’s images appear slightly underexposed. However, the OnePlus excels in sharpness and zoom performance, producing crisp details even in shadows and highlights. Both cameras deliver well-saturated images with a good tonal range, but at times, OnePlus photos can look slightly flat and neutral.

When shooting against the light, the OnePlus 13 handles lens flares much better, which I confirmed through multiple tests.

Ultra-Wide Camera

Both phones feature a 50 MP ultra-wide sensor, but with different Samsung sensors—JN5 on the OnePlus 13 and JN1 on the Vivo X200. The OnePlus outputs at 14.6 MP, while the Vivo delivers 14.28 MP.

Like the main cameras, both ultra-wide sensors produce natural and neutral colours. However, the Vivo’s images tend to have higher contrast, making them appear slightly processed or “cooked” in some cases. This processing also affects shadow and highlight details.

Overall, both cameras perform well, though the OnePlus still exhibits a slight reddish tint in some images. Sharpness on zooming in is again better on the OnePlus, while distortion control is good on both.

Telephoto Camera

The OnePlus 13 uses a Triprism lens, while the Vivo X200 opts for a periscope lens. Both feature a 50 MP sensor with 3x optical zoom, but Vivo has downgraded its telephoto sensor from 64 MP in the X100 to 50 MP in the X200. The OnePlus features the Sony LYT-600, while the Vivo has the Sony IMX882 and they both offer different zoom ranges as well. The OnePlus can zoom up to 120x, while the Vivo maxes out at 100x.

Here, Vivo produces slightly underexposed images but delivers better sharpness at higher zoom levels. Colour consistency is also more reliable on the Vivo, though OnePlus has improved in this area compared to its previous models.

A great example of this is the Vistara logo test—on the OnePlus, the logo appears slightly blackish instead of its original maroon colour, whereas Vivo reproduces the colour more accurately. However, at maximum focal range, both phones produce over-processed images, making extreme zoom largely impractical.

Low-Light Performance

Both phones have impressive low-light capabilities, as noted in my previous reviews.

Main Camera: Both deliver sharp, well-saturated images. Vivo’s high contrast makes images look more vibrant and pleasing to the eye, but OnePlus still retains better sharpness when zooming in.

Ultra-Wide Camera: OnePlus images exhibit a slight reddish tint, but its distortion control is better than Vivo’s.

Telephoto Camera: The Vivo once again shines at higher zoom levels, maintaining sharpness and consistency, while OnePlus struggles with colour accuracy.

Front Camera

They both use a 32-MP camera at the front which also shoots 4k upto 60 fps. The images from both are sharp and decent, but the OP has a better performance overall. In terms of video as well – there is a slight cool tone to the output from the Vivo, while the OP delivers more natural result. The sound recording and output also is better in the OP.

Portraits

In portraits both the phones offer 5 focal ranges to shoot at, but the Vivo goes upto 100x whereas the OP will go to a max of 85mm.

In terms of performance both are pretty good. The output is sharp and detailed in both cases and the colour accuracy is also good. The images are vibrant and well saturated. The edge detection performance is also decent in both cases. But there is visible skin smoothening in the Vivo despite the setting being off. At higher focal range there is a slight reddish and yellowish tinge in both the cameras as well. But what I liked is that the images are sharper as you move to higher zoom.

In lowlight as well the performance is good and in a studio environment – both the phones perform really well. The bokeh performance is better on the Vivo in this case, but due to the skin smoothening in some cases the images do look slightly cooked. In this case there is very little to choose between them.

Video Performance

Both phones support 4K 60fps recording with fast autofocus, and the OnePlus even shoots 8K30. Vivo’s footage has higher contrast, while OnePlus delivers more saturated colours in low light, making it look more visually appealing.

Verdict

Both phones have their strengths. Vivo X200 offers better low-light performance, stronger telephoto zoom and more consistent colour reproduction in telephoto. While OnePlus 13 delivers sharper main camera images, better contrast, no skin smoothening in portraits, and an overall more fluid user experience, especially with its new processor and display.

While the Vivo X200 is a good camera phone, as a complete package, the OnePlus 13 is simply better. Its overall user experience, display quality and software refinements make it the superior choice, especially after recent updates that addressed previous concerns that I had.

Watch our review video:

Nikon Z6III Review: Does It Actually Outperform?

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The Nikon Z6III was launched in June 2024 with the tagline ‘Outperform’. Nikon has positioned it as a camera that excels in both photography and videography. Its predecessor, the Z6II, was released in 2020, making this upgrade a long-awaited one. We had the opportunity to test the Z6III extensively for over a month before featuring it in our magazine.

Watch our video review:

Who Is It For?

This camera is designed for users seeking a versatile tool capable of handling various photography styles, including street, sports, landscapes, and weddings. Nikon has emphasized this versatility in its marketing and communications as well.

Look, Body and Feel

If you’re a Nikon user, the Z6III will feel instantly familiar. The build quality is excellent and at 760 grams, the camera strikes a balance between sturdiness and portability. The deep, comfortable grip enhances handling, while the two programmable function buttons on the back offer quick access to settings.

Most of the button placements remain consistent with the Z6II, ensuring a seamless transition for existing users. A slight redesign on the top right accommodates the video, ISO and exposure compensation buttons for easier access. This ergonomic refinement enhances usability and these buttons can be customized as well.

The rear buttons are well-positioned, and while a joystick is present, the OK button often feels
more intuitive. A significant upgrade from the Z6II is the fully articulated rear screen, maintaining the same size and resolution but now offering greater flexibility for shooting at different angles – a welcome improvement.

Nikon has not explicitly claimed weather sealing for this body, but given the outperform branding, it’s reasonable to expect a degree of durability against the elements.

What Makes It Special?

The Nikon Z6III introduces several standout features, including the world’s first 24.5 MP partially stacked full-frame sensor. This innovation provides key advantages, as claimed by Nikon, such as:

Unlimited photo buffer
Internal RAW at up to 6K60p and ProRes RAW recording up to 5.4K up to 60p
4K120 video recording (Dx crop)
60 & 120fps burst rate in JPEG mode (120fps in Dx crop)
20fps burst rate with an electronic shutter

Image Quality

The overall image quality is impressive, delivering sharp and detailed photos with excellent dynamic range. Colour saturation and reproduction are accurate, while shadow and highlight retention are commendable. In high-contrast scenarios, some adjustments may be necessary, but the performance remains strong.

Shutter Performance (Electronic & Mechanical)

Thanks to its partially stacked sensor, the Z6III supports an electronic shutter. However, some flickering
was noticeable in certain lighting conditions, a common issue with electronic shutters. Rolling shutter effects were present but less pronounced compared to older models like the Sony A7 IV, benefiting from the newer sensor technology.

The mechanical shutter offers 14fps burst shooting, while the electronic shutter reaches 20fps. The ability to shoot continuously is excellent, though the camera does heat up slightly in burst mode, however it isn’t anything that can’t be managed.

Autofocus & Tracking

The upgraded AF system introduces subject detection and 3D tracking, marking a significant improvement over its predecessor. In both daylight and low light, the autofocus performs exceptionally well, locking onto subjects with impressive accuracy.

However, in crowded scenes, the focus can momentarily shift between eyes before recognizing a new subject. This minor issue could potentially be resolved through a firmware update. Tested with 35mm and 50mm f/1.4 lenses, the autofocus speed was as fast as Nikon advertises.

ISO Performance

The Z6III handles ISO well. Even at high ISOs like 6400 to 12,800, images remain usable, though
sharpness and clarity take a slight hit. In challenging conditions, capturing the shot often takes
precedence over achieving perfection.

For video, high ISOs paired with fast f/1.4 lenses result in clean, noise-free footage, expanding creative possibilities for filmmakers.

Video Capabilities

In terms of video the camera offers 6K recording up to 60fps and 4K up to 120fps (with crop). Also much like the other cameras, it also has a 125-minute recording limit, making it highly practical.

Even in extreme low light, the camera delivers high-quality video with minimal noise. Paired with 35mm and 50mm f/1.4 lenses, the results are quite cinematic.

The RED Acquisition

With Nikon acquiring RED, we anticipate deeper integration of RED’s technology into Nikon cameras. And you can see a hint of that in this camera. Z6 III can shoot compressed RAW video recording, previously exclusive to high-end models like the Z8 and Z9. It also has LUT support for N-RAW and N-Log footage, allowing users to match RED’s signature colour science. Nikon has made these LUTs freely available on their website.

Electronic Viewfinder (EVF)

The Z6III features a 5.76 million-dot EVF, delivering sharp visuals. It has a refresh rate of 60Hz with 120Hz unclaimed, as there is an option to turn on “high framerate” in the menu. However, the EVF sensor is extremely sensitive, causing the screen to turn off with even slight movements – something to be mindful of.

Conclusion

At a price of ₹2.23 lakh, does the Nikon Z6III truly ‘Outperform’?
Compared to other cameras in its category, it offers a good balance of features, performance, and value. Nikon has strategically positioned it between entry-level models like the Z5 and professional bodies like the Z8/Z9.
Now there are always a few things that can be improved in every product and this isn’t any different. But overall, for someone who is looking to shoot images and video both, I can see this being a compelling buy, and one that we surely give our thumbs up!

Oppo Find X8 Pro Review: Worth ₹99,999?

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Today, we’re diving into Oppo’s latest flagship smartphone—the Oppo Find X8 Pro. Priced at ₹99,999, this handset is the first to feature Oppo’s dual-periscope telephoto camera for global markets. After testing the device for a couple of weeks, I’ve gathered some interesting insights to share with you. Like previous editions, the camera system here is a collaboration with Hasselblad. At a price point of ₹1 lakh, is this system truly worth it? Let’s find out.

Look, Body & Feel

Camera control button – still from our review video

The Oppo Find X8 Pro is lightweight, featuring a flat design that feels sleek, albeit a little slippery. The back showcases a familiar circular camera module, but the positioning has changed from the X7 Pro. Unlike its predecessor’s less appealing design, this new layout looks much cleaner. I particularly love the small orange line on the module, signifying the Hasselblad collaboration, along with subtle camera details etched at the corners. Another highlight is the camera control button, similar to the one introduced in the iPhone 16 series—a feature I suspect more phones will adopt.

Cameras

The Oppo Find X8 Pro boasts a quad-camera setup on the rear, each with 50MP sensors and a
little more on those sensors later:

Main Camera: Sony LYT 808
Ultrawide Camera: Samsung JN5
Telephoto Camera: Sony LYT 600
Super Telephoto (Periscope) Camera: Sony IMX 858
Front Camera: Sony IMX615 (32MP)
Powered by MediaTek Dimensity 9400 processor.

Daylight Main Camera

The main camera uses the Sony LYT 808 sensor and shoots at 14.3 MP with the 23mm. It also
allows you to shoot 3 focal lengths — 23, 28 and 35mm. The images from the camera are good.
They look well saturated, sharp and also display good tonal range. The highlights and shadows
performance is also good.

The images are also consistent across the focal range, but on zooming in it isn’t the sharpest
image that you might see. But what I liked is that it isn’t processed, and the phone has kept the
originality of the image in place, even while shooting skins tones.

Daylight Ultrawide Camera

For the ultrawide camera, the phone uses the Samsung JN5 sensor and this also shoots at 14.3 MP at 15mm focal length. The images again are true to the scene and natural looking. The tonal range is also good and on zooming in it holds up decent details as well. There is a visible amount of lens flare in the image, and against the sun the shadows and highlights performance could be better. The colour reproduction is good and what I liked is that despite being a ultrawide camera, there is very less distortion in the image.

Daylight Telephoto

The telephoto lens of this system is interesting. It uses 2 camera system to shoot the images, one is the Sony LYT 600, which is used to shoot between 3-6x and the other is the new super telephoto (periscope) camera, which uses the Sony IMX 858 to shoot beyond 6x upto 120x. At 2x, the images are slightly more saturated than usual, but it still uses the main camera to shoot at 2x. At 3x, the images are slightly saturated as well but don’t seem too processed. The colour tones are good, and the sharpness is also decent. Across the zoom range also, it is able to provide consistency unless you start shooting at 600mm. You can start seeing some colour fringing with yellows coming out on the images and also some reddish tinge in the skin tone sometimes.

Lowlight Cameras

In lowlight, the images are pretty impressive from the main camera. It is able to appropriately light up the scene evenly and also displays decent sharpness. It is able to maintain natural colour tones and I really liked that. Much like the main camera, it doesn’t overcook the images as well.

But the phone takes a some beating when it comes to ultrawide in lowlight. The images are underexposed and also lack sharpness and details on zooming in some cases while on the other it lets in too much light burning some images. You can also see the over processing in the images as well.

The performance of the telephoto is impressive. The images even in lowlight are sharp to a certain extent and also give a consistent performance in most cases. Yes, on zooming in a lot there might be loss of detail and this is common. And on high zoom you can see the images being over processed with the phone compensating
to deliver a good result. There is also some visible flaring happening in the images as well.

Front Camera

The images from the front camera are good. They are sharp and well saturated and detailed. You have 2 lenses to shoot with, 21 and 25mm according to your preference and the image quality is identical between both these lenses.

In terms of portrait mode, the pics are ok. The edge detection is ok and probably could’ve done
better in this case. You can see some traces of the phone trying to identify the difference
between the background and the subject, and coz of this there is a some haziness on the edges.

In the front camera video, it can shoot 4K up to 30fps. The video is crisp, clear and sharp.

Portrait Mode

And you can see a similar performance in some portraits from the back cameras as well.
But before we talk about that, the phone gives you the option to use 4 cameras to shoot portraits with.
And in terms of output, the pics are great. The images are warm and pleasing to the eye. They are sharp as well and also pretty clear even on zooming in. But there are a few things that I noticed which I wanted to talk about.

First, at a lower focal range, the cameras have an average edge detection and the images look good, but the background looks more like a cutout. Similar to the front camera, you can see that the phone isn’t able to identify the edges very well. But as you move higher on the focal range, then the performance becomes really good. You can see the difference.

Second, at the lower focal range, the camera isn’t applying any skin smoothening, but the moment you go to higher focal range then it starts skins smoothening. And I am not sure what’s happening with most recent phones these days. I found something similar in the Vivo X200 as well.

Third, if there is another human in the background, then the phone isn’t able to tell the difference and makes it look like the same person. And sometimes this may result in photos where half the background might still be in focus. Although this isn’t something that can’t be fixed in the software update.

If you’re using this mode, our recommendation would be to use the blurring at a minimum of F/2 for natural, eye-pleasing results. Watch our review video for the images we spoke about.

Video

The rear camera can shoot 4K up to 60fps. In daylight, the video is crisp, autofocus is responsive & works well, the colour saturation is also good. This also features OIS (optical image stabilization) in 3 out of it’s 4 cameras (UW doesn’t have one) and it works really well to stabilize shaky footage. Of course in a very shaky scenario it won’t work well, but overall it is decent. Watch our video review linked below to see how the videos look like out of this phone.

Macro

The phone can shoot macro, but at best I felt that the images were OK. The sharpness as compared to some other phones was not that great and this could be better.

Battery Life

The 5910mAh battery comfortably lasts over a day of heavy use or up to two days with light use. At 51%, the phone predicts 18 hours of usage in balanced mode, translating to an estimated 36 hours at full charge. Moderate use can bring this down to under 24 hours—still a strong performance. The device also supports 80W wired fast charging and 50W wireless charging.

Conclusion

So, is the Oppo Find X8 Pro worth ₹1 lakh? The camera system delivers accurate and consistent results in daylight, with decent lowlight performance. Portraits are vibrant and appealing, though edge detection could use improvement. Video quality is solid, and the overall experience leans more toward positives than negatives. Ultimately, it’s a robust offering for photography enthusiasts. Would you spend ₹1 lakh on it? Let us know in the comments!

Watch our video review:

Vivo X200 Review: Is It Worth It?

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The Vivo X200 series has arrived with a blend of exciting updates and its ongoing collaboration with Zeiss for the cameras. Sporting a triple 50-MP camera setup and a price tag of ₹65,999, Vivo hopes to capture consumers’ attention with its latest offering. But does it deliver? Let’s dive in.

Look, Body, and Feel

Before we get into the cameras, let’s talk about design. The Vivo X200 embraces a flatter profile this time, and I must say, the grip feels excellent. The display is slightly smaller than the X100, and the phone sits comfortably in the hand while maintaining an impressive, modern aesthetic.
That said, the textured edge of the camera module on the back feels awkward. It’s uncomfortable for your finger to rest on – something a cover partially remedies but doesn’t eliminate completely. It’s a small hiccup in an otherwise great in-hand experience.

Camera Setup

The Vivo X200 features a triple 50-MP camera array, complete with the familiar Vario-Tessar label:

Main Camera: 50 MP | Sony IMX921 sensor | CIPA 4.5 stabilization
Ultrawide Camera: 50 MP | Samsung JN1 sensor
Telephoto Camera: 50 MP | Sony IMX882 sensor | 3x optical zoom | 100x digital zoom |
15 cm macro
Front Camera: 32 MP | Ultra-Wide f/2

Also notable is Vivo’s VCS Camera-Bionic Spectrum 2.0 and Super Hard AR Coating on the lenses, alongside the Mediatek Dimensity 9400 processor powering this phone.

Daylight Performance

Main Camera

The main camera shoots at 14.3 MP (23mm) resolution and delivers vibrant, well-saturated images. Shots come out crisp and sharp, even when shooting against the sun. However, you may notice slight lens flaring and over-processing when zooming in, which can reduce overall clarity. Still, the camera handles shadows and highlights decently, brightening darker areas effectively.

Ultrawide Camera

The ultrawide camera uses the Samsung JN1 sensor, capturing shots at 14.28 MP. The natural mode produces pleasing colours with solid saturation and tones. As with the main camera, flaring is noticeable, and over-processing sneaks in when zooming into the details. While shadows and highlights hold up well, slight edge distortion is evident in wide-angle shots.

Telephoto Camera

The telephoto lens drops from 64 MP (X100) to 50 MP. Images shot at 14.3 MP (2X) showcase decent sharpness but are inconsistent at higher focal lengths. Some shots display a reddish tinge and visible over-processing, especially at maximum zoom. That said, most users will appreciate the ability to zoom in – a feature heavily marketed but still inconsistent across Android devices.

Low-Light Performance

Low-light shooting reveals some inconsistencies across the cameras.

Main Camera: Produces sharp, detailed images with excellent colour saturation and reproduction. Even when zoomed in, the results remain impressive.

Ultrawide Camera: Images are slightly underexposed and less saturated compared to the main sensor. Details start to fade on closer inspection, though the colour tones remain appealing.

Telephoto Camera: At 46mm, sharpness holds up, but over-processing is evident. At 3x optical zoom (70mm), underexposure and reddish tones creep in. Moving into digital zoom, performance drops significantly, with yellowish colour shifts and visible noise – a common issue with most phones.

Front Camera

The 32-MP front camera (same as the X100) delivers sharp, detailed selfies. Portraits are clear, with good edge detection and decent background blur. However, zooming to 2x requires a manual pinch-to-zoom, which may confuse users accustomed to dedicated zoom icons.

Portrait Mode

Vivo offers five focal lengths (from 23mm to 100mm) with Zeiss templates for added creative control. Portraits shot in daylight deliver pleasing colours and good saturation. However, noticeable skin smoothening occurs below 85mm, even in the “natural” mode – a surprising find. At 100mm, though, textures appear more realistic. Edge detection and bokeh
quality remain consistent across lighting conditions, with attractive, rounded bokeh in the background. Distortion at extreme focal lengths is noticeable but typical for portrait lenses.

New Features

The Street Photography Camera template is a notable addition for photography enthusiasts. Double-pressing the volume down button opens a Pro-mode-like menu with spot metering (a feature that actually works). While promising, it’s hard to see casual users making full use of it.

Video

The Vivo X200 supports 4K video recording at 60fps, delivering stable, high-quality footage. Autofocus is quick and reliable, and portrait video mode performs decently, though background blur appears artificial at times.

Macro Mode

The super macro mode allows close-up shots with commendable results. Interestingly, the final images look far better than the live preview, indicating strong processing power but weak real-time representation – something Vivo should improve.

Battery and Display

The 5,800mAh battery is a significant upgrade from the X100’s 5,000mAh capacity. It also introduces India’s first Semi-Solid-State Battery, which minimizes heating during heavy usage. In real-world testing, the phone stayed surprisingly cool, though the chilly weather might have helped.

Verdict

The Vivo X200 cameras are a mixed bag. On the plus side, they deliver:
• Vibrant colours and excellent tonal range
• Strong macro performance
• Solid video capabilities
• Impressive battery life
However, the phone falls short in:
• Colour consistency across lenses
• Aggressive skin smoothening in portrait mode (below 85mm)
• Over-processing at higher zoom levels
At ₹65,999, consumers expect a robust, consistent performance across all cameras. While software updates could fix some of these issues, as it stands, the Vivo X200 raises questions despite its promising features. If Vivo addresses these concerns, they could have a winner on their hands.

Tamron 28-300mm vs 50-300mm: Review & Shootout

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Today we have two lenses from Tamron – the 28-300 mm F/4-7.1 and the 50-300 mm F/4.5-6.3 super zoom lenses. We recently reviewed Nikon’s 28-400 mm lens in the same category and in that review, we stated that there are no other lenses in the market like this. It seems like Tamron heard us and has changed that, they recently added these two lenses but for the Sony E-mount full frame system.

They’re not exactly the same, they’re a 100mm shorter than Nikon’s, but they’re one of the first ones in the extended general purpose zoom lenses category.

What makes this interesting is that the price difference between the newly launched Tamron lens is just ₹6500. So as a user, which one should you buy? The 28-300, which costs ₹75,000 or the 50-300 costs ₹68,500. We will review them and tell you which one is better for you.

Who Is This Made For?

The 28-300mm is ideal for beginners looking for an all-in-one carry around lens and even experienced photographers who want a compact, versatile lens for travel without sacrificing image quality too much.

The 50-300mm, on the other hand, is geared towards those familiar with the 70-300mm range but who want a slightly wider perspective.

Look, Body & Feel

Both lenses follow Tamron’s signature design ethos we’ve seen over the last few years. They’re sturdy, well-built, and both feature a 67mm filter diameter.

Each lens comes with two rings: one for zoom and an inner ring that is programmable. Additionally, they both have a programmable button and a USB-C port for firmware updates and customisable functions.

Despite the minimal weight difference on paper – 610g for the 28-300mm and 665g for the 50-300mm – the latter feels noticeably heavier in-hand and when attached to a camera. Physically, the 28-300mm is also shorter, measuring 126mm versus the 50-300mm measuring 150mm. The lens hoods differ too, with the 28-300mm sporting a shorter hood to accommodate its wider field of view.

Both lenses come with metal mounts and rubber gaskets, ensuring they are weather-sealed and built to endure.

Image Quality

Daylight Performance

Both lenses perform well in daylight, producing sharp, detailed images with decent colour reproduction. The 28-300mm, being the newer of the two, delivers slightly better sharpness, especially when zoomed in. It also produces images with higher contrast, giving photos a more dramatic feel, particularly in black-and-white shots. At higher focal lengths, both lenses show some edge softness, though the 28-300mm maintains sharper overall clarity.

There is also visible distortion in the images shot from the 28-300 as compared to the 50-300. At the max focal length the subjects do appear broader as seen in the images between the two lenses. The perspective distortion also appears more on the 28-300mm.

Focussing

The autofocus is fast on both lenses, but the 50-300mm, with its wider aperture, edges out the 28-300mm slightly. Focussing is smooth, and surprisingly, both lenses performed better in low-light video than in daylight. While both take a little longer to focus when shooting stills, the autofocus motors are exceptionally quiet.

Low-light Performance

In low light, the 50-300mm stands out, thanks to its faster aperture. Though the 28-300mm again delivers higher contrast and sharper images, it has a slight reddish tinge in low-light conditions. The 50-300mm, on the other hand, captures brighter, better-lit images and opens up the possibility of shooting broader subjects in low-light environments.

Bokeh

When it comes to bokeh, there’s little difference between the two lenses. Both produce pleasing, circular bokeh with a cat’s-eye effect, delivering a comparable performance in this regard.

Chromatic Aberration, Flaring, and Ghosting

In terms of chromatic aberration, the 28-300 scored 1.27px when run through Quick MTF, whereas the 50-300 scored a much better 0.44px. In real life, there was no visible colour fringing or aberration in our images.

The 28-300mm handles flaring and ghosting better, displaying minimal issues. The 50-300mm, however, shows some ghosting in certain images, which was a bit disappointing.

Macro Capabilities

The minimum focussing distance (MFD) for the 28-300mm is 7.5 inches at 28mm and 39 inches at 300mm. For the 50-300mm, the MFD is 8.7 inches at 50mm and 35.4 inches at 300mm.

Both lenses can shoot macro-like close-ups, though the 50mm end allows for slightly closer shots due to it being physically longer. In terms of quality, the pics from the 50-300mm appear sharper and better between the two. But yes, both lenses produce decent macro-like images.

Conclusion

So, which lens should you choose – the Tamron 28-300mm or the 50-300mm? Both are solid performers for their price range. The 28-300mm delivers sharper images and offers more visual mood in its shots. However, our pick would be the 50-300mm. Its smoother focussing (especially in low-light), wider low-light capabilities, and lower price tag make it a compelling choice.

Yes, you’ll miss out on the 28mm wide angle, but if that’s not a dealbreaker, the 50-300mm might be the better all-around option.

OnePlus Buds Pro 3 Review

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The latest OnePlus Buds Pro 3 were recently launched at a price of ₹13,999, with potential discounts available. As someone who used the Buds Pro 2 daily for much of last year, I was eager to try these new earbuds, and I have several observations to share.

Design, Build, and Feel

The design of the Buds Pro 3 has seen some notable changes. First, the charging case has been updated to a flip design, similar to other recent OnePlus earbuds, moving away from the flat design of the Buds Pro 2. The case now features a textured, leather-like finish that enhances grip and feels sturdy and premium in hand. However, like Apple’s AirPods, they now come in a white colour, called Lunar Radiance, which may require more frequent cleaning.

The earbuds themselves maintain the familiar in-ear stem design but with some visible differences. The Buds Pro 3 are slightly larger, indicating an internal redesign, possibly to accommodate the dual DACs in each earbud, which deliver a more powerful audio experience compared to the previous model.

The stems are now longer and feature a touch-enabled sliding function for adjusting volume—a welcome and much-needed addition. However, getting the gesture right can be tricky, as I found my left earbud occasionally slipping out. The earbuds also now have “L” and “R” markings, making it easier to identify the correct earbud, another thoughtful improvement. And with an IP55 rating, won’t have sweat creep in through them.

A nice touch is the “co-created with Dynaudio” branding on the earbuds and the case.

Sound Performance

The Buds Pro 3 support Fast Pair, which means they quickly connect to Android devices, especially OnePlus phones, when brought close. The pairing process is swift, and the earbuds offer the same settings as the Buds Pro 2, with no significant changes. iPhone users can access similar features through the HeyMelody app, though OnePlus should do more to highlight this compatibility.

In terms of sound quality, the Buds Pro 3 deliver a noticeably louder, clearer, and crisper audio output. The bass is well-rounded, much like the Buds Pro 2, but with a richer overall sound. OnePlus claims these earbuds can cancel noise up to -50dB, and they deliver on that promise. The Adaptive Noise Cancellation feature adjusts to your environment, cutting out outside noise more naturally than the Buds Pro 2, which tended to create a slight vacuum effect.

Areas for Improvement

While the overall experience is designed with OnePlus phone users in mind, I feel there’s room for improvement for iOS users. The fit of the ear tips also leaves something to be desired. Despite trying all the provided tips, the fit still felt average and slightly loose during sound tests.

Another issue I’ve noticed with the Buds Pro 2 is that latency tends to increase over time, particularly when connected to a TV, leading to brief connection drops. I’ll need more time with the Buds Pro 3 to see if this issue persists.

As for call quality, there’s definite improvement—voices sound clearer, though still somewhat robotic.

Conclusion

The OnePlus Buds Pro 3 are simple and easy to use. Just pop them open, and they connect to your paired devices, ready to go. They offer a range of customization options and deliver sound quality that sits comfortably between Apple’s AirPods Pro and Samsung’s Buds Pro.

The standout feature here is the price. At ₹13,999, with potential discounts making them even more affordable, the Buds Pro 3 offer excellent value for money. With features like multiple device connections, fast charging (providing up to 43 hours of listening time), and LHDC support (though this won’t work with iOS and Pixel devices), they are a compelling choice.

Ultimately, it’s the combination of price and features that make the OnePlus Buds Pro 3 a great product for the money, especially when compared to pricier competitors like AirPods and Samsung buds.

Sigma 50mm 1.2 Art Lens Review

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Sigma recently launched the new 50mm F/1.2 DG DN Art lens for the Sony and the Panasonic mount. Now this is a DG DN lens which means it is for the full frame sensor and these lenses can be used on the Sony’s E-mount and the Panasonics L-mount as well. The MRP for this lens is Rs. 1,33,000, but it can be available for around Rs. 1,17,000 lacs at street price. That is a considerable discount as compared to the other lenses in the same segment. And at this price, the Sigma 50mm becomes a very interesting lens.

Look Body and Feel

In terms of the look, body and feel, at first glance the lens looks sturdy, well-built and also pretty light. Infact it is only weighs 745 gms and being an art lens it comes with weather sealing and a metal mount. The lens is also different as compared to the usual lenses of today and features a host of buttons. I also love the shiny A on the lens denoting that this is the Art lens.

At the front you have a 72mm filter diameter and in terms of the buttons it has the focus ring, the aperture control ring, a lock, autofocus and manual buttons and also a click and de-click button as well. And you can tell that a lot of thought has gone into the details as you turn the aperture dial around to hear its click sound. There’s a different level of satisfaction from that sound, which can only happen if there has been a lot of attention paid to it.. The lens hood also has a familiar design with the unlock button to it, which has been part of the Sigma Art lens design.

Images

Shooting with a 1.2 prime lens is always exciting because it can open really wide and with this lens as well, much like the other Art lenses that Sigma has, the performance is really good. The images are really sharp, very detailed and are able to deliver a pleasing performance that’s impossible to miss. Now as you might know that usually these lenses are always sharp on the centre and slightly soft in the corners. But in this case the lens displayed good sharpness in the corners as well which was good to see.

The focusing is also very fast and you will hardly find it hunting under most conditions. Even in lowlight conditions I found the autofocusing to perform pretty well.

Bokeh Performance

Another advantage that a prime lens gives you is the ability to get some great portraits and bokeh performance. For this lens, Sigma has used a 13-blade rounded diaphragm, which helps with delivering nice rounded bokeh’s. And in terms of performance, we found nice circular bokeh at the centre and cats eye in the corners. The portraits and the depth to the subject also look really good and using this lens really reminds me of why I like prime lenses so much.

Chromatic Aberration

When we checked the lens for chromatic aberration then it gave a CA value of 0.22 pixels through the quick MTF software, which is a pretty good CA value.

Flaring and Ghosting

In terms of flaring and ghosting we shot a number of pics and found the performance pretty decent. Under most conditions the lens was able to cut the flare and ghosting, unless we really pointed it directly into the Sun’s line of sight. So, I’d say that the performance was pretty decent in this case.

Conclusion

Honestly there is hardly anything to dislike about this lens. Its compact, its light, delivers good performance in terms of image quality, both in daylight and lowlight, plus it’s has the ability to deliver good bokeh, which is so important for a prime lens, especially if you are shooting weddings, street photography, etc.

Now what sweetens this deal even more for me is the fact that it is also cheaper than some of the other lenses in the same segment and at a street price of Rs. 1,17,000, which means you can use that extra money to buy more equipment or other lenses that you might desire.