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iPhone 17 Pro vs vivo X300 Pro: A Flagship Camera Face-Off

Watch our video review here

Two flagship smartphones, two very different imaging philosophies. Apple’s iPhone 17 Pro and vivo’s X300 Pro sit firmly at the premium end of the market, both priced north of the ₹1 lakh mark and both promising class-leading camera performance. With powerful processors, advanced imaging pipelines and multi-camera systems, the question is not whether they are capable – but which one does it better. This comparison focuses purely on camera performance across real-world shooting scenarios, from daylight photography to low light, portraits, macro and video.

Pricing and Positioning

The iPhone 17 Pro starts at ₹1.35 lakh, placing it firmly in the ultra-premium bracket. The vivo X300 Pro undercuts it at around ₹1.10 lakh, though street pricing and offers can narrow this gap. Both phones target serious users who expect top-tier performance, particularly from their cameras.

vivo X300 Pro

Triple 50 MP camera setup
New custom 200MP telephoto sensor by Samsung, Mediatek & vivo (14.3MP output with 50 & 200MP options available)
50MP Front camera (Samsung JN1 – 14.2MP output)
50MP hi-res photo option available on all sensors including front
Powered by Mediatek Dimensity 9500 processor and V3+ imaging chip
Video capability bumped up to 8K at 30fps and 4K at up to 120fps, with LOG – which is only available in 4K

iPhone 17 Pro

Triple 48 MP Fusion cameras on the back
18 MP front camera with a square sensor and Center Stage support
Updated Photonic Engine for better low light and color accuracy
Powered by the A19 Pro chip with 12 GB RAM (up from 8 GB)
Video: 4K up to 120 fps, with ProRes RAW, and GenLock support

Camera Performance

In daylight, the difference in philosophy becomes immediately apparent. The iPhone captures images at 24MP, while the vivo defaults to a lower-resolution output. In practice, the iPhone produces slightly sharper images, particularly noticeable when zooming in. vivo’s recent software updates have improved natural rendering, but images still tend to be marginally underexposed, affecting shadow detail and highlight recovery. vivo images are more saturated, while the iPhone leans towards neutral, accurate colours. At 2× zoom, both phones show a dip in quality, but the iPhone maintains a slight edge. vivo’s high-resolution shooting modes can recover detail at the cost of storage space, while Apple counters with its own high-resolution options.

Daylight Main

In daylight, the difference in philosophy becomes immediately apparent. The iPhone’s 48MP Sony IMX903 sensor outputs 24MP images by default, while the vivo’s 50MP Sony LYT-828 sensor produces 14.3MP images. In theory, the iPhone’s higher output resolution should translate into sharper images – and in practice, it does as well.

On zooming in, the iPhone images retain finer detail. vivo’s recent software updates have improved natural rendering, but images still tend to be marginally underexposed, affecting shadow detail and highlight recovery. vivo’s colour tuning leans towards saturation, while the iPhone remains more neutral and truer to life.

At 2× zoom, both phones show a drop in quality, but the iPhone maintains a marginal edge. vivo does counter this with its 50MP high-resolution mode on the main sensor, though this comes at the cost of increased storage usage, while Apple offers a similar high-resolution option on its main camera.

Daylight Ultra-Wide

The trend continues with the ultra-wide cameras. The iPhone’s 48MP Sony IMX972 sensor delivers better sharpness, superior distortion correction and more reliable dynamic range compared to vivo’s 50MP Samsung JN1 sensor. vivo’s ultra-wide images again appear slightly underexposed, with punchier colours but compromised shadow detail.

While vivo offers a 50MP high-resolution mode on the ultra-wide camera, the iPhone’s default 24MP output feels more refined, balanced and dependable, especially in challenging lighting.

Daylight Telephoto

Telephoto performance is a strong point for both devices, but they take very different routes to get there. The iPhone’s 48MP Sony IMX973 telephoto camera offers optical zoom up to 4× and digital zoom up to 40×. vivo’s custom 200MP telephoto sensor, on the other hand, offers optical zoom up to 3.5× and digital zoom reaching 100×.

Up to 4×, the iPhone produces sharper and cleaner images. Beyond that, vivo quickly catches up and then overtakes. At 10× zoom, both phones deliver comparable results, though vivo’s brighter output makes images appear more appealing at first glance. At extreme zoom levels, the vivo’s higher-resolution sensor gives it a clear advantage, delivering noticeably sharper images despite visible processing. For users who rely heavily on long-range photography, vivo clearly holds the upper hand once digital zoom becomes the primary factor.

Low-Light Performance

Low-light photography is more evenly matched than expected. Using the main cameras, the vivo’s Sony LYT-828 sensor delivers stronger contrast, producing more dramatic images, though it sometimes over-brightens scenes and introduces colour shifts due to aggressive processing.

The iPhone’s Sony IMX903 sensor produces more restrained and consistent results, even if the images lack some visual punch. On the ultra-wide cameras, vivo again shows better sharpness and contrast from the Samsung JN1 sensor, while the iPhone’s IMX972 maintains superior colour accuracy.

Telephoto performance follows the daylight trend, with both phones performing well at optical zoom levels, but vivo dominating once digital zoom comes into play, albeit with heavier computational processing.

Portrait Mode

Portrait photography highlights the philosophical divide between the two brands. The iPhone allows portrait shooting across all three rear cameras and produces more natural-looking images with accurate skin tones and consistent colour reproduction.

vivo offers a wider range of portrait focal lengths, made possible by its multi-sensor setup, but applies noticeable skin smoothing and occasionally inconsistent colour tuning. Edge detection and background separation are strong on both, but Apple’s portraits feel closer to reality, while vivo’s lean towards a more stylised aesthetic.

Macro Photography

Macro photography delivers an unexpected result. Despite vivo’s super macro advantage, the iPhone produces sharper images with better detail and more accurate colours. vivo does allow users to get as close as approximately 10cm to the subject, offering greater flexibility, but it also tends to alter colours from the original scene, particularly in natural textures like bark and foliage.

Front Camera Performance

On the front, vivo’s upgraded 50MP Samsung JN1 sensor delivers higher detail, particularly when zooming in. The iPhone’s 18MP square sensor produces warmer, more saturated images but clearly vivo has an edge when it comes to this one.

Video Performance

Video remains Apple’s strongest suit. While vivo’s hardware enables 8K recording, the iPhone’s output at 4K – driven by the A19 Pro chip and Apple’s image processing – remains more balanced, better stabilised and far more consistent in colour and exposure. ProRes RAW & GenLock support and dependable autofocus make the iPhone the more serious tool for content creators and professional videographers.

Battery & Thermals

Battery life clearly favours the vivo thanks to its massive 6500mAh capacity, often stretching to a day and a half of use. The iPhone, however, manages heat more effectively and remains stable during extended shooting sessions, except when recording ProRes RAW video.

Final Verdict

This is not a clear-cut win. The vivo X300 Pro excels in telephoto photography, low-light contrast, front camera detail and battery life, largely thanks to its ambitious sensor choices. The iPhone 17 Pro counters with superior consistency, more natural portraits, stronger macro performance and industry-leading video capabilities driven by its tightly integrated sensor and processing pipeline.

For users who value experimentation, extreme zoom and computational flair, vivo offers remarkable value. For those who prioritise reliability, colour accuracy and professional-grade video, the iPhone remains the safer choice. Despite vivo’s impressive hardware advantages, the iPhone 17 Pro’s overall balance and predictability give it the edge as the better all-round camera phone, albeit at a higher price.

OPPO Find X9 Camera Review – The Benchmark

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Watch our video review here

When we reviewed the OPPO Find X8 Pro last year, it impressed us by punching well above its weight. This year, Oppo sent over its younger sibling, the OPPO Find X9, placing it in a crowded mid-range flagship segment filled with stiff competition. Like its predecessor, the Find X9’s cameras are co-engineered with Hasselblad, setting expectations high, especially on the camera front.

Here’s our detailed look at what the OPPO Find X9 cameras bring to the table.

Look, Body & Feel

The design of the OPPO Find X9 is a noticeable departure from the Find X8. It now looks more in line with other smartphones in this segment. The camera bump resembles older iPhone designs and features the Hasselblad logo at the centre of the flash module. The biggest visual differentiator is the camera layout itself, with the ultrawide lens sporting a pill-shaped design.

The phone features a 6.59-inch “ProXDR” display and weighs 203 grams. In daily use, it feels compact and manageable, something users with smaller hands will appreciate. On the left side, there’s a programmable action button that can be assigned to various tasks, including launching the camera. Within the camera app, this button can also be used to capture photos.

Camera & Hardware Overview

The OPPO Find X9 comes with a familiar triple-camera setup featuring a:

50MP main camera (14MP output)
50MP ultra-wide camera (14MP output)
50MP telephoto camera (14MP output)
32MP front camera (12MP output)
Powered by MediaTek Dimensity 9500 processor
Backed up by a 7025mAh battery

One thing that’s peculiar about this phone is that it enables you to get 25-50 MP photos without enabling a high-res mode, depending on the amount of light in the scene. But just to be clear, there is a separate “Hasselblad Hi-res” mode available that works on all three cameras on the optical lenses only (0.6x, 1x & 3x).

There’s also the Hasselblad Xpan mode which has an updated UI and allows you to shoot in the Xpan ratio – photographers will know exactly what this is.

Daylight Performance

Main Camera

The main camera uses a 50MP Sony LYT-808 sensor with a default 12MP output. It supports shooting at 1x, 1.3x, 1.5x, and 2x zoom levels.

Images are sharp, crisp, and detailed, especially when zooming in. However, they tend to look oversaturated and overly vibrant, which some users may enjoy. Dynamic range is good, with decent highlight and shadow handling.

That said, in several shots, human subjects appeared slightly underexposed despite adequate lighting. This feels like something that could potentially be addressed through a software update.

Ultra-Wide Camera

The ultra-wide camera uses a Samsung JN5 sensor with a 12MP output and performs impressively. In fact, it’s better than many ultra-wide cameras we’ve seen in this category.

Compared to the main camera, images from the ultra-wide tend to be brighter than the actual scene. While the main camera sometimes underexposes, the wide camera compensates by lifting brightness. Images remain sharp and detailed but share the same vibrant, slightly oversaturated look, often pushing skin tones toward a reddish hue.

Highlights and shadows are handled reasonably well, though occasional flaring and aggressive processing are visible. Overall, it’s a solid ultra-wide shooter.

Telephoto Camera

The telephoto setup uses a 50MP Sony LYT-600 periscope sensor, offering 3x optical and 6x lossless quality options with a maximum digital zoom of 120x.

Results here are mixed. In some cases, images appear underexposed, while in others they’re slightly overexposed. Sharpness and detail are generally good, especially up to 6x.

Visible processing is present, and some shots show a reddish color tone. However, color consistency at higher zoom levels is commendable, with very little color shifting, something many zoom cameras struggle with. At extreme zoom levels, color fringing becomes noticeable.

Low-Light Performance

In low light, the OPPO Find X9 delivers vibrant, well-saturated images. In fact, saturation sometimes feels excessive. Heavy processing is evident across all cameras, though many users may still like the end result.

Detail loss becomes visible when zooming in, which is expected. The ultra-wide camera stays relatively true to the scene, but ghosting and halo effects appear around strong light sources.

Telephoto images in low light are softer and show noticeable processing, along with some flaring and ghosting. On the positive side, color shifting is minimal. High zoom in low light, however, isn’t recommended.

Front Camera

The front camera uses a 32MP sensor with a default 14MP output. Like the rear cameras, it supports automatic high-resolution capture, delivering full 32MP images when lighting allows.

There are two focal options: 0.8x and 1x. In practice, the 0.8x option feels more useful, making the 1x option somewhat redundant.

Image quality is strong, with natural skin tones and good detail retention. Front camera portraits benefit from the auto high-resolution feature as well, producing detailed images. Edge detection is good, but subject separation can look inconsistent on close inspection, especially around complex areas.

Skin smoothing is minimal, which is welcome, but some images show uneven processing where certain areas appear discolored. This doesn’t happen consistently, but it’s noticeable when it does.

The front camera supports 4K video recording at up to 60fps using both focal options. Front camera video is one of the best performing cameras we’ve seen so far, with colour rendition very true to scene and close to reality. Skin tones are preserved well and the image is very well-exposed.

Portrait Mode

Portraits can be shot using three focal lengths. The results are generally pleasing, with good sharpness, accurate edge detection, and natural-looking bokeh.

Skin smoothing is minimal, but the phone tends to slightly brighten skin tones, particularly in low light, where a reddish tint becomes more pronounced.

Video Performance

The OPPO Find X9 supports 4K video recording at up to 120fps, an upgrade over last year’s 4K 60fps limit. At 120fps, only the 1x, 2x, and 3x lenses are available. Shooting at 4K 60fps unlocks the 0.8x and 6x lenses as well.

Optical image stabilization is available on two of the three cameras, excluding the ultra-wide, which is typical. Video quality is good and consistent with last year’s performance. Colors are slightly punchy, stabilization works well, and autofocus is reliable.

The camera app remains largely unchanged and is easy to navigate. For advanced users, LOG recording is available in the Pro video mode providing wider dynamic range and post-production flexibility.

Macro Mode

The super macro mode returns with a minimum focusing distance of approximately 10cm. Results are mixed but improved compared to last year. Some shots show impressive detail and convincing background blur, mimicking a dedicated macro lens.

What We Liked

Battery:
The 7025mAh battery is a major upgrade over last generation’s 5900mAh in the pro unit. It easily lasts up to two days with balanced use and offers excellent standby time. Fast charging support includes 80W wired and 50W wireless charging, making this a strong selling point.

Display:
The Find X9 features a 6.3-inch 120Hz LTPS AMOLED display with peak local brightness of 3600 nits and 1800 nits in high brightness mode. Visibility outdoors is excellent, and HDR content looks great.

UI:
The phone came with ColorOS 16 out of the box and has received multiple updates since launch, including camera improvements. The UI remains smooth and functional, borrowing minimalist elements from OnePlus. Whether users like it or not will come down to personal preference, but is a definite plus point in terms of usability.

What We Didn’t Like

Camera Preview Accuracy:
The biggest issue is the camera preview. Images often look overexposed and blown out on the preview screen, even though the final photo turns out fine. In some cases, when the phone detects people in the frame, it overexposes the preview entirely. Despite multiple software updates, this issue hasn’t been fixed and can be misleading while shooting.

Verdict

So, how do the cameras on the OPPO Find X9 hold up?

Overall, the answer is yes, with some caveats. The cameras deliver sharp, detailed images, and the automatic high-resolution mode is genuinely useful, adding detail to everyday shots without any effort.

However, low-light telephoto performance could be better, and the aggressive processing needs to be toned down. At a price of ₹75,000, the OPPO Find X9 is a solid buy, especially with card offers taken into account. With a few refinements and software improvements, this could easily become an even stronger contender in its segment.

vivo X300 Pro Camera Review – Best Android Flagship Camera?

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Last year, we got the X200 for review, and it impressed us with its performance for a non Pro phone. But this year we’ve received an upgrade – the X300 Pro – and we’ve been playing around with it for a few weeks. Priced at ₹1,09,00, in this review we will see how this phone performs in our camera tests.

Look, Body and Feel

The design language hasn’t changed much as compared to last year’s model, and it feels similar to an iPhone and you could easily mistake it for the 16 Pro Max. It feels great in the hand, but the camera bump at the back has become bigger and while this gives you a natural finger resting place, it might not be for everyone, especially with bigger hands.

Camera Bump

The camera module at the back is familiar and has become noticeably bigger. The collaboration with ZEISS is evident with their logo and the T* symbol. There’s one tiny change wherein the flash has moved to the other side of the device.

Camera Specs:

The vivo X300 Pro comes with performance filled to the brim as expected of an android flagship. It features a triple camera setup which includes:

50MP Main camera
50MP Wide camera
New custom 200MP telephoto sensor by Samsung, Mediatek and vivo (14.3MP output with 50 and 200MP options available)
50MP Front camera
50MP hi-res photo option available on all sensors
OIS available on Main and Telephoto cameras, rated to CIPA 5.5 standards

The X300 Pro is powered by Mediatek Dimensity 9500 processor and V3+ & VS1 imaging chips. Video-wise, it can shoot at up to 8K at 30fps and 4K at up to 120fps, with LOG—which is only available in 4K.

Daylight Main

The main camera features a new 50MP Sony LYT-828 sensor that gives the output at 14.3MP which allows you to shoot 1x (24mm), 1.5x (35mm) and 2x (48mm). The images are vibrant, saturated and detailed. In some cases they are more natural while in the others they do tend to over pop slightly. The shadows and highlights performance is good overall.

The pics are also sharp and detailed—although there is a hint of processing when a human subject is in the frame. One thing to note is that the processing takes a second especially in the hires mode. Quick tip, you can change the display to focal length (24, 35mm, etc) or multiples (1x, 2x, etc) inside the menu.

Daylight Wide

The wide camera remains unchanged from last year, featuring the 50MP Samsung JN1 sensor which gives you an output of 14.3 MP and a hires mode with 50MP output option.

The images shown from the wide lens seem more natural looking than the main camera. They represent the actual scenes and the pics aren’t very poppy or oversaturated. The details and sharpness is decent and since these are more natural looking images, the shadows and highlights performance is slightly under. There is visible distortion as well in the images— although something that is expected from phone cameras.

Daylight Telephoto

The phone features a brand new “High Sensing Sensor HPB” telephoto sensor, which is a collaboration between Vivo, Mediatek and Samsung. By default the output is again 14.3MP and it can still shoot images at 50 MP and 200 MP. And unlike previous models, the hi-res setting can be accessed from the main menu itself without needing to scroll to the additional menu on the right.

This camera gives you an optical zoom of 3.5x and can go up to 200x digital zoom and this is easily the best lens in the camera set up. The pics are sharp, detailed, crisp even at higher zoom ranges. Yes, there is visible processing at higher zoom range, but the images up to 10x are easily usable. Beyond that you can see some visible noise, but if you are shooting texts, then even at higher zooms the images are good.

And like most phones you can see colour shifting as you move up on the zoom range. The images up to 10x show proper colour reproduction and the shifting starts as you move up on the zoom range from there. We would’ve loved to shoot with the extender as it adds another 2.5x optical zooming capability and based on the examples we’re seeing online, it might be a worthwhile investment for serious hobbyists or enthusiasts.

Lowlight

In lowlight the images are surprisingly good.

From the main camera the images are sharp, vibrant and well saturated. The colour reproduction is also on point—in fact since there is aggressive processing, the images look really sharp and detailed and to the naked eye these look really good. Yes, in some cases they aren’t the actual scene, but they surely make the images look pleasing. I liked the even tonality also of the colours in the images.

In wide lens, similar to the daylight—the images are more natural and they display less processing as compared to the main camera. But there is visible flaring and ghosting and the sharpness is decent.

In telephoto the images do display heavy processing (there is an option inside to turn this down to normal or completely off), but they do appear sharp and detailed up to 10x. The performance behind 10x is decent and there is colour shifting visible like the daylight performance. In some cases though when it doesn’t focus then you can see the output without processing as well. The flaring and ghosting performance is better in this lens and overall the images do appear vibrant, poppy and over saturated in some cases.

Portraits

In terms of portraits, it gives you five options to shoot portraits. And the images are pretty decent. They display good colour range and sharpness, although there is visible skin smoothening in them. The edge detection is good and the bokeh performance is also great—the ZEISS signature. But in some cases we found the images to give a slightly soft look. In daylight the images are very sharp and detailed and there isn’t much to complain about.

One interesting thing about this flash is that it uses different distances while shooting in different lenses. For a telephoto it will throw further away while in the main it is closer. From the image stand point it lights up the pics better with fill light—but in terms of the output we think it could be better.

Macro

There is a super macro mode with reports suggesting the minimal focusing distance as 14 cm. The images from it are decent and can be used in most cases. But there is visible colour shifting in the image while shooting on wide/main and telephoto.

Front

The front camera has been bumped up to a 50 MP camera as compared to the 32 MP from last year. This is now a 50 MP Samsung JN1 sensor—same as the rear wide camera. The image output is at 14.2MP and you can shoot at 0.8x, 1x and 2x.

Interestingly, the X300 Pro gives you an option to take selfies at 50 MP like the rear camera, which is a feature unseen in other phones. And the images from the phone are good. They are sharp and detailed, natural and pleasing to the eye. The bokeh performance is good—even in low light and the edge detection in portraits is also decent and the skin tonality and reproduction is also good. The phone does do slight skin smoothening even in the natural mode.

Front Video

The front camera can shoot videos at 4K at up to 60fps. The image quality from this is decent and natural, not straying away too much from the reality, which being a little bit vibrant and poppy. The portrait video feature adds to this by separating the subject from the background with good bokeh performance and edge detection as well.

Video

The vivo X300 Pro is capable of shooting at 8K at 30 fps, and also 4K at up to 120 fps. It also features LOG shooting with live video preview – which means you can preview the video normally, but the video recorded will be in the Log format—essentially giving you greater dynamic range while editing and to do your own colour grading. One thing to note is that Log video shooting isn’t available in 8K, which we don’t think is going to be a dealbreaker considering the number of people actually shooting in 8K are going to be very less.

Qualitywise, the videos are natural, vibrant, and very stable. There’s OIS in two out of three cameras, and more than that, when going from one focal length to another, there’s only a small shift in colours and tonality. However, going from 1x to 2x looks like a slight drop in image quality because the 2x lens is digital, at least in the preview and 2x to 3.5x feels like a huge jump up in image quality because we’re moving towards the excellent telephoto camera.

More than that, when you tap on the lenses, the shift isn’t immediate, the zoom eases in and out, making the overall feeling way smoother.

Image is well exposed with plenty of dynamic range for everyday videos, and if you need any more DR, then the Log feature gives you that option. Another feature to note is that there are “personalised styles” now available in the camera, like colour presets or shooting modes, but switching to them will restrict your shooting to 1080p at 30fps, which is not good if someone wants to explore these options.

Pro level options – the Vivo X300 Pro doesn’t only let you shoot different frame rates, resolutions and video formats (H.264 and H.265), but also allows you to change bitrates between Normal and High—which is essential if you want to retain image quality and sacrifice storage space or vice versa.

The autofocus is very similar to a mirrorless camera wherein it automatically now detects and tracks subjects, shifting focus from one subject to another effortlessly.

Things We Like

Display – The Vivo X300 Pro features a 6.7 inch 120Hz LTPO AMOLED display tuned to ZEISS master standard with 2000 nits of HBM brightness and 4500 nits of local peak brightness—plenty enough to shoot in broad daylight and supports HDR content viewing. You can also shoot HDR videos and photos with the phone—most of the photos we showed are shot in HDR by-default.

Battery and charging – this phone comes with a massive 6510 mAh battery, which was a trend we predicted back when we reviewed the OnePlus Nord 5. This is backed by the capability to charge at 90W wired and 40W wireless. In our testing, the phone could last over a day and a half in balanced mode, giving plenty of time for even power users to power through an entire day.

UI – The Vivo X300 Pro comes with the brand new Origin OS 6 preinstalled, the experience inside the operating system and the camera app is smooth. The app opens swiftly and without any hitches, the top-down menu feels refined and the OS gives you plenty of options to customise to your liking.

Things We Didn’t Like

Heating – After an extended shoot session, especially 4k videos, the screen was noticeably warm to the touch. Inside the camera menu there’s an option to extend the shooting duration, which is a nice touch, but during the day there’s a very real chance of overheating.

Conclusion

How do we find the cameras of Vivo X300 Pro? Well in one word they are GOOD. They shoot sharp and detailed images and the telephoto is surely impressive. Yes, few things can be better – like the aggressive processing, the colour shifting, but aspects like the good video performance, battery life and new UI – combined makes this a decent phone to buy.

The cameras surely do get a thumbs up from us and make it a worthwhile contender to be crowned as the best android flagship camera.

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

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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.

Sigma 17-40mm F/1.8 Art Lens Review

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One of the main reasons people invest in a full-frame camera is for the benefit of full-frame lenses. And as many photographers know, APS-C lenses don’t always measure up. But Sigma is aiming to change that with its new 17-40mm F1.8. Since the claim is bold, we had to test it ourselves.
This is the Sigma 17-40mm F1.8 DC Art, priced at ₹78,000. This lens follows the legacy of Sigma’s iconic 18-35mm F1.8,
launched nearly a decade ago. In this review, we’ll walk you through its performance and whether it’s worth the upgrade.

APS-C on a Full Frame

For this review, we tested the lens on a Sony A7 IV in crop mode (1.5x). You might wonder why—but this also makes sense for newer APS-C bodies like Sony A6600 or Fujifilm XT-5. The lens is available in multiple mounts including Sony E, Fujifilm X, Canon RF and Lumix L.

Look, Build & Feel

As expected from Sigma’s Art series, the build quality is excellent. The lens feels solid in the hand, weighing 535 grams, and is built primarily from metal. Key features include:

Aperture ring with a click/de-click option
Aperture auto-lock switch
Two programmable buttons (top and side)
AF/MF switch
67mm filter thread
Locking lens hood (standard for Sigma)

It also comes with a metal mount, weather sealing, and “Made in Japan” proudly etched on it. The zoom is internal, meaning the balance doesn’t shift while changing focal lengths—perfect if you’re planning to use it on a gimbal. Minimum focus distance is 28cm, giving you a bit of macro flexibility.

Image Quality

As mentioned earlier we tested this on the Sony A74 body in crop mode with a 1.5x. But we also have featured some images with the A6400 APSC camera – so watch the credits pic info carefully. The 17-40mm on APSC translates to approximately 26 to 60 mm in full frame equivalence which makes this lens versatile and it comes very close to the 24-70mm full frame lens. The F/1.8 aperture on APSC gives you a full frame equivalent depth of field of F/2.8.

The pics in daylight are very vibrant, well saturated and speaks for the quality of the lens. The sharpness and detailing are also good, although occasionally in depth it does add some softness to the sides. What was surprising was that this lens was able to provide great depth – similar to a full frame camera and I think that is its good quality.

Autofocus

While on this subject – lets speak about the autofocus as well. I was impressed by its performance. In our testing the auto focus was very quick both in the low and high focal range. Even with subjects in the foreground the lens focuses fast and delivers sharp results – so that was good to see. The motors are also silent, which adds to the shooting experience and can be important if you want to shoot without getting noticed. In video as well the focusing was smooth and breathing is very minimal, which scores this lens another point in the video category.

Lowlight

As good as the daylight performance was – the lowlight performance was also impressive. Some images were shot with the Sony A6400 – and for most part the images were pretty good. The sharpness and detailing were evident and even in dimly lit conditions the images were decent. Yes occasional detailing while zooming in was missing and some colour shifting was noticed, although colour shifting is more for a sensor.

Macro/Close-up

This lens has a minimum focus distance of 28cm, so this allows you to shoot pseudo macro images and the images are decent. The images in this case are ok. I wouldn’t say it’s a big bonus, but in case if you want to use it then you at-least have an option to shoot with.

Bokeh

Being an F/1.8 lens, at full frame it is equivalent at F/2.8 depth of field. The bokeh is nice to look at, it’s a mix of round and cat’s eyes depending on how light is falling on the subject. I felt the bokeh was better in the lowlight than in daylight in our testing time. But overall a decent performance in this regard.

CA Value

We ran it through Quick MTF and got a score of 0.90. That it fairly high – but in real world application, it is difficult to get that.

Flare and Ghosting

The flaring and ghosting performance of the lens was very impressive. Even in extreme lowlight and at a wide aperture, the lens displayed minimal flaring and ghosting. Yes occasionally there was a slight hint. But nothing of concern.

Conclusion

So what do we think about the Sigma 17-40mm F/1.8 Art lens? The predecessor to this lens was launched nearly a decade back. And it was time that Sigma offered a new replacement. And in most parts I think it delivers well. The focal length is now closer to a full frame 24-70 F/2.8 standard zoom lens. Yes, it is not all great – for instance the CA performance could be better and the lowlight has some room for improvement as well.
But what Sigma is able to deliver is a good daylight performance that it closer to a full frame 24-70 lens. And that I think for any APS-C shooter, this is a vital and worthy upgrade from a kit lens.
Priced at around ₹78,000 this definitely will feel like a full frame lens on your wallet as well. However, if you are looking forward to shooting professional level content on your APSC camera without upgrading to full frame bodies then this, we would say, is an easy choice.

IZI Spectra Drone Review – Made In India Competition to DJI?

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Today is a special day, because we are reviewing our first drone. In the world of drones, one name dominates every conversation, and that is DJI. Unless you’re a professional or a regular drone user, chances are you haven’t heard of many alternatives or even considered them.
But that’s about to change. Today, we’re reviewing a drone that not only challenges DJI, but is also made right here in India. Meet the IZI Spectra, a premium drone developed by a startup in Madhya Pradesh, priced at ₹99,999.
Let’s see if this Made-in-India drone has what it takes to compete on a global stage.

What’s in the Box

Everything fits into a well-organized carry bag. The drone sits in a moulded compartment, the controller is tucked below, and the batteries slide into the sides. The various cables let you connect almost any phone, and the included screwdriver and extra propellers are nice touches.
The charging pad allows simultaneous battery charging, but it’s worth noting that the batteries are rated at 5,000mAh each and the charger outputs 2,140mA at 16V – so this might charge slowly. Also, it charges one battery fully – after the other. According to IZI, this gives a flight time of up to 51 minutes – though we’ll see if that holds up.

Features

A 20 MP 1-inch sensor with 90° field of view (~28mm focal length), stabilized by a 3-axis gimbal
Shoots in 4K at 30fps, and up to 60fps in 2.7K and 1080p
Supports H-Log colour profile for grading flexibility
JPEG-only photos — no RAW capture
Obstacle avoidance in front, rear, and downward directions
Wind Resistance Mode for stable flight
Bottom LED light — helps in low light but has limited range

Design & Build Quality

At 730g, it falls under the micro drone category – light enough for easy transport. The build quality is surprisingly solid. Made from high-quality plastic, the drone feels durable yet remains lightweight. The limbs fold in neatly, and everything fits snugly into the carry bag, which weighs just over 2kg when packed. One thing to note is the propeller configuration: A+B in front, B+A at the back. Setup is quick once you get used to it. I crashed the drone once so I also learnt this the hard way.

However, there’s one odd design decision: Micro-USB ports on both the drone and controller — in 2025, that feels outdated. Even Apple has moved to USB-C. You’ll need the provided cable to charge the remote or transfer files.

Controller & Ergonomics

The controller feels sturdy, though the three trigger buttons feel a bit plasticky. You get:

A wheel for gimbal pitch
A mode switch (Filmic/ Normal / Expert)
A Return-to-Home (RTH) button
Video/photo caption buttons

There’s also a customizable Function (fn) button, and the joysticks use Mode 2 by default (left = altitude, right = direction). You can change this if needed. The phone holder is built into the bottom and the joysticks are stored inside silicone pads – though they’re a bit tough to remove at first. Ergonomics aren’t perfect, and the controller tends to heat up with extended use.

Safety Features & Startup Experience

Safety is a big focus here – maybe too much:

Two disclaimers every time you open the app
A Bluetooth/Wi-Fi interference warning
Flight is restricted to 3 meters by default until unlocked using GPS and other flight
modes
You get obstacle avoidance and wind resistance modes, but oddly, you can’t enable
both at the same time.
If the drone disconnects, it can either hover or return to home — customizable in the
settings.
Low battery triggers early RTH prompts, starting as high as 50%, which repeat every
10%.

App & User Interface

The IZI app is clean and user-friendly. It displays:

Telemetry and flight data
Battery levels for the drone and remote
Real-time map location
Home & Custom RTH points

You can adjust units (metric/imperial), anti-flicker settings, gimbal pitch speed, FPV mode, and
more. But several settings only appear once the drone is airborne, making pre-flight prep a bit
frustrating. The Waypoint Mode allows you to pre-set paths on a map, with altitude and hover time.
There’s some video lag in the app preview — not ideal, but manageable.

Camera and Video Quality

The footage is decent for casual users. 4K video is clean, and the H-Log profile gives you
flexibility in post. But there’s no ProRes support for video, and JPEG-only photos are limiting for
editing.
Timelapse mode is a nice touch — it gives both a finished video and the individual JPEGs.
Unfortunately, Follow Mode didn’t work during our tests. It failed to track a subject properly in
both available options — hopefully a fix comes in future updates.

Flight Performance

The Spectra performs well in good conditions:

Stable handling and responsive controls
Auto take-off and landing are reliable
Customizable RTH height works well

However:

We experienced overheating issues when hovering too long, which once even disabled video capture
Feed cut-outs happened a couple of times mid-flight
Altitude was initially restricted to 3m, but we unlocked up to 150m (~500ft) after setup (flying in an area with adequate GPS coverage) it performed well.

Battery & Charging

IZI claims 51 minutes of flight time, but we consistently got around 40 minutes per battery —
still impressive, but not as advertised.
Each battery takes about 1 hour 15 minutes to charge. The controller also needs 1 hour after a
complete session. The included charger is bulky and really should be replaced with USB-C going
forward.

Who Is This For?

The IZI Spectra is ideal for casual users or beginners — people who want something light, portable, and easy to use, with enough features to film vacations or small creative projects. But if you’re a professional filmmaker, or need RAW photo capture or pro-level video codecs, this drone won’t cut it. For the price, you might want to explore IZI’s more affordable models with 4K capability, or even a good second-hand DJI.

Verdict

So, what’s our verdict on the IZI Spectra? It’s a solid first effort. We like the portability, decent camera, and user-friendly safety features. The H-Log profile gives casual users some room to experiment, and flight performance in ideal conditions is commendable.
But it’s not without flaws – overheating, limited codec support and controller quirks hold it back from truly competing at the top. And at ₹99,999, it’s not a budget product. Still, this is a great first-gen effort from IZI. If they fix these bugs and improve professional features, the Spectra 2 could be a serious contender in the global market.

For now, the IZI Spectra is a promising drone — and a proud moment for Indian drone tech.

OnePlus Nord 5 Camera Review – Best Nord Yet?

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Last year, when we reviewed the OnePlus Nord 4, it left us wanting more. This year, the Nord 5 arrives with bold promises – it’s the first Nord to feature a Snapdragon 8-series chipset and the first mainstream OnePlus device with a 144Hz OLED display. But what we’re really here for is the camera – especially since it borrows tech from the flagship OnePlus 13. This is priced at ₹31,999 but will be available starting from ₹29,999 with bank discounts. According to OnePlus, this is their most complete Nord yet. So, do the cameras live up to that claim? Let’s find out.

Design & Build

OnePlus continues to push the envelope with its design and build. Ever since the OnePlus 13, they’ve embraced a flat design that feels premium in the hand. The Nord 5 comes in three colour variants with a sleek glass back – thankfully, it’s less slippery than the OnePlus 13. At just 8.1mm thick, it’s comfortable to hold and carry. It also gets an IP65 rating for water resistance this time. A welcome addition is the new Action Button on the left, which can be customised to perform various tasks – including launching the camera and capturing photos. It adds a tactile dimension to the shooting experience, taking a cue from the iPhone. The camera layout is minimal – an exclamation mark-style design with a raised module. You also get signature metallic camera rings, just like the flagship models.

Camera Setup & Specs

Here’s a quick look at the camera hardware:

Dual rear cameras
50MP main camera with Sony LYT-700 sensor (14.2MP output)
8MP ultrawide (9MP output)
50MP front camera with Samsung JN5 sensor (14.2MP output)
Snapdragon 8s Gen 3 processor
144Hz OLED display with 1800 nits peak brightness
6800mAh battery—the biggest in its segment (for now)

Daylight Main

50 MP main camera with Sony LYT 700 sensor, 14.2 MP images. The camera gives you 3 focal ranges to shoot at 24mm, 28mm and 35mm and the output is at 14.2 MP and overall the pics it shoots are pretty good. The images are vibrant, saturated and pleasing to the eye. In fact, for my liking they are over-saturated since I prefer the more original and natural look. But as I’ve said before – users tend to like these things and I don’t expect people to complain. The sharpness also on zooming in is decent, pleasantly surprising actually. Yes there is some processing that you can see – but in most cases the image sharpness was decent. The shadows, highlights and HDR performance is also surprisingly good. But under backlit scenarios the sharpness and focusing takes a beating. And as compared to the Nord 4 in daylight – this is a massive improvement.

Daylight Wide

8 MP ultrawide camera, 9MP images. The wide camera is a 8 MP camera and like we’ve seen before they output the images at 9 MP. With a 8 MP camera I dont expect the sensor to do much and at best the images from this one are ok. The images show high contrast with highlights and shadows coming under. It still shows good colour tonality as compared to the main camera, which means it is maintaining consistency. The sharpness surely takes a beating and can be better on zooming in, but you can’t expect much with this. There is also distortion seen in the images as well.Overall the performance is decent.

Daylight Telephoto

Just like last time, there is no dedicated telephoto camera and lens in this phone. The main camera is used to shoot tele photos and they are processed in the background. There is optical zoom until 2x and then it switches to digital zoom – all the way up to 20x. In terms of performance I was pleasantly surprised. The images are actually sharp and usable up to 5x and even on zooming in you can see the clarity (at least most of it). There is also very minimal colour shifting as well and it is able to maintain the consistency. But once you move 10x and above then you can see some colour fringing, which is more apparent at the max focal range. But honestly a regular consumer wouldn’t notice any of these things and I am impressed with this performance.

Lowlight Images

In the low light category the images overall are better than I expected. With the main camera the images look well saturated, sharp and pleasing to the eye. The colour reproduction is also good. Yes the images surely seem processed and once you zoom in you can see that. But even under those conditions – they are able to maintain good sharpness.In the wide – much like the daylight the camera does struggle slightly – the shadows and highlights performance takes a beating and the sharpness is also ok. You also see a lot of lens flaring as well in the wide camera, which wasn’t evident in the main camera. There is also a display of colour shifting in the images with some of them displaying a reddish tinge. So I wouldn’t really use the wide camera in low light unless it is absolutely necessary. But like the day – the telephoto again shines with a decent performance in lowlight as well. The images are well saturated and look good. Yes you can easily spot the over processing in most cases, but to the naked eye, they are good. The sharpness is also decent until 5x, and at max zoom range the images aren’t usable honestly.

Portraits

The Nord 5 allows you to shoot portraits at 1x and 2x lenses, and three focal lengths – 24, 35 and 48mm. With such a good camera performance thus far – I was looking forward to the portraits. And I don’t know how to put this – but the images are good, but not impressive enough for me. In daylight the images display good consistency and look natural and pleasing to the eye. We put the phone in a difficult scenario with mostly the light coming in from the back. And the image sharpness in this case was a hit and a miss. The depth performance was good and so was the edge detection – but when you look at the images you don’t feel like they are sharp. There is some haziness looming around them.In low light the sharpness looks lack luster in some cases with some sort of haziness in the images. However the edge detection is pretty good. The depth performance is also impressive with the bokeh looking round and cats eye. There is a slight tinge of yellow and red in some cases, but not something to complain about. At times when it focuses then the images are sharp, otherwise they aren’t. Overall I think there is room for improvement in this.

Front Camera

The front camera allows you to shoot with three lenses and focal lengths, 0.8x or 21mm, 1x or 25mm and 2x or 49mm. Powered by the 50MP Samsung JN5 sensor, images from all 3 lenses are 14.2MP.The output of the front camera is pretty good. It displays sharp details and also delivers good accuracy which is closer to the original scene. So I am impressed with this one.

Front Camera Video

This camera is a massive upgrade where it could only shoot 1080p. On the Nord 5, you can shoot 4K up to 60fps on the front camera.

Video Performance

On the rear camera, you can shoot up to 4k up to 60fps, but only at 1x and 2x. At 0.6x, the view drops down to 1080p 30fps. This is very similar to last year’s. Video quality wise, the output is natural looking, a little bit more saturated and vibrant that what you see with your eyes, and has good dynamic range with no visible signs of over-processing, which is a plus. The OIS gives you super stable footage. In low light, the Nord 5 has good detail in the shadow, and because of the image stabilization, it looks better overall but there is a little bit of flaring. But the image quality overall is a noticeable improvement as compared to the previous phone.

Battery & Display

This might be the first phone we’re seeing and reviewing with a battery pack exceeding 6500mAh. And it is just great. It also supports 80W fast charging and even after using it a lot there is still a lot left over for you to last. For an average user I think it will last more than a day and half easily. So great work OnePlus on this one.

Now this display is just amazing. I think in this price segment – ive never seen anything like it. This is the first ever 144Hz panel on a mobile phone, and it supports HDR. The usage experience is buttery smooth and the visuals are poppy and vibrant, something you’d expect from an OLED display. And it feels that Oneplus has taken this one right out of the flagship book because this actually looks and feels amazing.

Conclusion

So, is this the most complete Nord ever? Honestly—yes. I’m pleasantly surprised. Mid-range phones usually leave me with mixed feelings, but this one delivers on most fronts. Photos are vibrant and detailed, video performance is solid, and the front camera is a standout. Portraits could be better, but with that stunning display, excellent battery, and price tag of ₹30K, OnePlus might just have a winner on its hands. And to the team that worked on this camera setup – bravo. Please send them to work on the next flagship coz according to me – they’ve earned it.

Nikon Z5 II Review – Best Entry Level Camera?

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It’s been 5 years since the launch of the Z5 and arguably there’s never been an entry level camera with this much buzz around it! Priced at ₹1.5 lakhs for body only, Nikon’s looking at setting the bar high with this one. Today we’re reviewing the Nikon Z5II which was launched recently.

Look, Body and Feel

At first glance, the Z5II is unmistakably a Nikon. It bears a resemblance to the Z6III in size, but it’s slightly more compact and weighs in at 700g — just 60g lighter than the Z6III. The grip is excellent — deep, secure, and ergonomically designed. Nikon users will feel right at home with the familiar button layout. On the right, you’ll find the PASM dial along with
all the usual control buttons. A noticeable new addition is the color profile button, giving you quick access to preloaded filters and customizable picture styles for in-camera effects. This body also features dual UHS-II SD card slots and is weather-sealed to the same degree as the Z6III.

In terms of connectivity, it includes the standard mic and headphone jacks, a USB-C port, and — unfortunately — a Micro HDMI port. That feels a bit outdated in 2025 and means carrying an extra cable if you plan to output video. That said, the overall build quality is solid, and the rubber sealing feels durable.

Sensor and Performance

The Z5II is equipped with a 24.5MP full-frame sensor — the same as the Z6II — paired with the latest EXPEED 7 processor borrowed from Nikon’s flagship Z9. While it’s not a stacked sensor, this combination brings a significant jump in processing speed, autofocus capabilities, and buffer performance over the original Z5.

Screen and EVF

Like most cameras in 2025, the Z5II features a fully articulated 3.2-inch touchscreen with a resolution of 2.1 million dots. The touch response is quick and fluid. The electronic viewfinder (EVF) boasts 3.69 million dots, a 60Hz refresh rate, and a peak brightness of 3000 nits — as bright as some smartphones today.

Autofocus

Here’s where the Z5II really steps up. Autofocus performance is dramatically improved, and the menu offers the same flexibility as the Z6III. Nikon clearly wants to show that “entry-level” doesn’t have to mean “stripped down.” Subject-detection and 3D tracking — both borrowed from higher-end models — are now part of the package. Performance-wise, also the autofocus tracks well and is pretty fast.

Burst Modes

Being an entry-level model, we won’t dwell too much on shutter types. But for those interested, the Z5II shoots up to 30fps jpeg only and 14 fps in RAW using the electronic shutter and 11fps RAW with the mechanical shutter. There is some rolling shutter effect, as expected, but it’s manageable.

Image Quality

We paired the Z5II with the 24-50mm F/4–6.3 kit lens, and the results were impressive. Images are sharp, vibrant and detailed, with strong dynamic range. Even in challenging backlit scenarios, the camera holds its own.

Even in low light, the camera performs well as it can go -5 stops below, capturing evenly lit images with ample detail — a testament to the sensor’s dynamic range.

Video Capabilities

The Z5II can record 4K video at up to 60fps, although with a 1.5x crop, with 4K30 at full-width. The camera features in-body image stabilization (IBIS) and we have a sample video in our YouTube video. Autofocus during video is quick and reliable. But the real standout feature? Internal 12-bit RAW video recording — a first for any entry-level camera. This feature, previously limited to the Z9 and Z8, made its way to the Z6 III and now lands in the Z5 II. You’ll need a high-speed UHS-II card for this, of course. The camera also supports N-Log, though the setting is buried in the menu. A dedicated button/setting would’ve been a nice touch.

ISO Performance

The Z5II has a maximum ISO of 51,200. Images remain clean and usable up to ISO 6400. Beyond that, some noise and pixelation do creep in, but for most real-world scenarios, it handles noise well.

Conclusion

So, what do we think of the Nikon Z5II? It’s an impressive camera for its price — blending a proven sensor with Nikon’s latest processing tech and some pro-level features. Nikon has played this one smart: they’ve kept costs down by sticking with a reliable sensor, while elevating performance with meaningful upgrades. And from the looks of it – it seems to
be working. As per reports following the Z5II’s release, Nikon became the best-selling mirrorless camera brand in Japan in May 2025, overtaking Sony. Now if that continues or not – we don’t know. But as a camera – Nikon’s really got this one right.

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.

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