360Photography

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  • TH Swiss releases pricing for its Irix 15mm F2.4 manual focus lenses

    Optical new-comer TH Swiss has announced pricing for the two versions of its Irix 15mm F2.4 manual focus lens designed for full frame cameras. The lens was originally announced in March this year, but the company now says the lenses are ready for sale and will be priced from €475 (about $ 535) for the Firefly model. There are two versions of the lens, the Blackstone and the Firefly. The Blackstone offers a more solid build and better water resistance, while the Firefly is said to be lighter and more affordable. The Blackstone version will cost €695 (about $ 780).

    The company claims that the lenses offer exceptional protection from flare and color aberrations via its ‘neutrino’ coatings and ‘sophisticated optical construction.’ Both lenses feature electronic aperture control via the camera body and a click-stop indicator at the infinity focus mark on the focusing ring. The lenses can be focus-calibrated to match individual camera bodies if needed, offer a focus lock at any focus position and the Blackstone version uses fluorescent paint in the body markings to make operation in low light easier.

    Users will need 95mm filters to screw into the mount around the forward element and the petal-shaped lens hood has a sliding door to allow access to filters that need rotating. Those who prefer rear mounted filters will find a square holder behind the rear element. TH Swiss says that the nine-bladed iris provides attractive out-of-focus highlights too.
    The lens will be available initially in Canon EF and Nikon F mounts, but we should expect Pentax K users to be accommodated by the end of the month.

    For more information, including full specification, MTF charts and optical schematics, see the Irix Lens website.

    Press release

    Irix 15/2.4 is ready for sale!

    First deliveries of Blackstone and Firefly are on their way to distributors and retailers.

    “The Irix 15mm f/2.4, both the Blackstone and the Firefly versions, is ready for sale”, announces TH Swiss Company. Starting from today, first deliveries of products have been shipped to distributors and retailers. Soon the customers will be able to enjoy the quality of Irix.

    Irix 15mm f/2.4 lens is designed to deliver the best optical performance and match the demands of full frame DSLR cameras. Providing a focal length of 15mm, this new lens model is ideal for outdoor and indoor photography whether it is photojournalism, landscapes or architecture. The new special features such as focus lock, infinity click! and focus scale calibration set a new level of manual focus lens functionality. Thanks to sophisticated optical construction and special neutrino coating formula, colour aberration, ghosting and flare effects have been reduced to the absolute minimum. With a minimum focusing distance of 0.28 metre (0.92 ft) and 9 rounded shaped aperture blades, the lens stands for supremely smooth out-of-focus areas. The design of the lens allows the use of 95 mm screw-in filters at the front and gelatin filters at the back of the lens.

    Blackstone, the Premium version, has durable body made with aluminium-magnesium alloy, that ensures foolproof protection of the lens, even in extreme situations. Its construction is equipped with four seals, that protect the camera mount and focusing mechanism against the dust and moisture, as well as front or side accidental water splashes. Engraved fluorescent markings enable easy read-out and operation in low light conditions.

    Firefly is the standard version equipped with three seals that protect camera mount and focusing mechanism against dust, moisture and side accidental water splashes. Ergonomic focusing ring with rubber grip offers the freedom to operate with the camera. It is the most lightweight lens in its class.

    Recommended retail prices are:
    695 EUR for Irix Blackstone
    475 EUR for Irix Firefly

    Both versions are available for Canon EF and Nikon F cameras. By the end of September there will be also a Pentax K mount available.

    Articles: Digital Photography Review (dpreview.com)

  • Opinion: Park vandals need to be stopped

    Cape Kiwanda is one of the most beautiful locations on the Oregon coast – having visited the area on multiple occasions I can tell you first hand that no photo could ever do the area any sort of justice. It’s just that beautiful.

    This rugged stretch of coastline that’s located near Pacific City, Oregon is home to a number of famous and much-loved rock formations that really can’t be found anywhere else on the West Coast. One of those rock formations known as ‘Duckbill Rock’ was a unique sandstone pedestal formation that was a compositional favorite amongst landscape photographers from around the world.

    This image by Colby Drake Design illustrates how beautiful this sandstone pedestal was before vandals decided to put their own creative touch on the area. Instagram: @colbydrakedesign

    In recent years, the rock has seen its fair share of abuse with various incidents of folks standing on top of it, leaning on it and laying on it for social media fame. I knew at some point that the rock would eventually succumb to the treatment, but I couldn’t have imagined that a group of tasteless individuals would have the audacity to push the rock formation over. Well, that’s exactly what happened on the afternoon of August 29th, 2016.

    As Resource Travel and several others have reported, a group of three individuals approached the sandstone formation and started to push on it, rocking it back fourth until it toppled to the ground. Supposedly, their reason for doing this was because their friend jumped off the formation and broke or injured his leg. David Kalas, a bystander who witnessed the incident, decided to film the whole thing once he saw what was happening and post it to social media. Now, the Oregon State Parks and Recreational Department, in coordination with Oregon State Police are reviewing the incident and are determining how best to respond to the matter. 

    This isn’t the first case of vandalism in our parks and it certainly won’t be the last, so what do we as a community need to do stop this from happening? This year alone has seen several acts of vandalism such as the filmmakers who decided to trample over the Grand Prismatic Spring in Yellowstone. How can we convince people that doing things like this for social media fame is just not okay?

    It may be that tighter government regulations and harsher penalties for vandals would help. Casey Nocket, for example, plead guilty to seven misdemeanor counts of damaging government property. A self-identified artist, Nocket graffitied protected rock formations, posting photos of her work to an Instagram account. A misdemeanor can be punished by a fine of up to $ 100,000 and/or one year of prison, but Nocket received two years of parole and 200 hours of community service.

    What do you think? How do you think we can deter individuals from doing things like this in the future? Feel free to share your thoughts by commenting below.

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm to introduce monochrome instax mini film

    Fujifilm has announced monochrome film for its instax instant cameras and Share printer. It will go on sale worldwide in October, and like the color film, will be sold in cartridges of 10 sheets each. No price has yet been given for the monochrome film, but currently a twin pack of color film with 20 sheets goes for about $ 12.

    Press release

    “instax mini film Monochrome”
    A new film that expands the possibilities of photographic expression using instax film

    September 6, 2016

    PHOTOKINA 2016, COLOGNE, GERMANY, September 20, 2016—FUJIFILM Corporation (President: Kenji Sukeno) is pleased to announce the launch of the “instax mini film Monochrome”, which will be released worldwide in October 2016.

    The “instax mini film Monochrome” responds to the increasingly sophisticated demands of users, enabling them to expand the artistic potential of their photographic expression and adding a further dimension of fun to use instax cameras and films.

    Product Name: “instax mini film Monochrome”

    Availability: From October 2016

    Main features:

    • Includes 10-frame, printable instax monochrome film.
    • Expands the potential for artistic, fashion and street photography.

    Fujifilm is committed to offering new products and services that meet various consumer needs by leveraging innovative technological advancements. Fujifilm is also dedicated to enhancing the enjoyment of photography worldwide, and encourages users to experience the value of shooting, preserving, displaying and gifting photo images that deliver the message of “enrich your life with photographs.”

    Articles: Digital Photography Review (dpreview.com)

  • Cooke Optics to offer miniS4/I lens range in mounts for DSLR and mirrorless cameras

    UK lens manufacturer Cooke Optics has announced that it is to produce a much wider range of mounts for its compact miniS4/i family of lenses to allow access for DSLR and mirrorless camera owners. From October the lenses will be available in mounts for Canon EF, Nikon F, Sony E and Micro Four Thirds systems, as well as the normal PL mount for movie cameras. In addition the company will offer the new mounts on their own for existing miniS4/i lens owners who will be able to switch the fittings themselves.

    The Cooke miniS4/i series is designed to offer movie makers a smaller, lighter alternative to the company’s S4/i lenses through the use of a T2.8 maximum aperture instead of the T2 opening of the S4/i range. There are ten prime lenses in the series ranging from 18mm to 135mm, and each is capable of covering a Super 35mm frame.

    Although the miniS4/i series is considered to be a cost-effective alternative to the company’s larger lenses, a set of all ten costs around $ 69,500 while the individual lenses are priced at about $ 7300 each. The price of the individual mounts has yet to be announced.

    For more information see the Cooke Optics website.

    Press release

    Cooke Optics introduces multiple mounts for miniS4/i lens range

    Users of Canon EF, Nikon F, Sony E and micro 4/3 cameras now have access to the Cooke Look

    Leicester, UK- Cooke Optics, the multi-award winning manufacturer of precision lenses for film and television, is pleased to announce that it is introducing multiple mounts for its acclaimed miniS4/i lenses, enabling more cameras and productions to benefit from the ‘Cooke Look®’. The new mounts, including Canon EF, Nikon F, Sony E and micro 4/3, will be available to view at IBC 2016 on Stand 12.D10 and will ship from October 2016.

    A single mount will fit every focal length lens in the miniS4/i series. For existing miniS4/i lenses, users can simply unbolt the PL mount that comes as standard, bolt on the replacement mount, and shim as required. The mounts can be used on any miniS4/i lens, regardless of delivery date. For new miniS4/i deliveries, starting from October 2016, the lenses will be available with the mount of choice from the factory. The mounts are designed for the MIRRORless cameras.

    Les Zellan, Chairman and Owner, Cooke Optics, said, “The miniS4/i lenses are steadily gaining popularity for many genres of production, since they have all the coveted attributes of Cooke prime lenses in a smaller, lighter and more affordable form. With the introduction of these interchangeable mounts, we can now bring the Cooke Look to many more cameras and productions, giving even more choice to directors of photography.”

    miniS4/i lenses were recently used to shoot the popular UK TV drama Midsomer Murders and the Spanish feature film El Pregon.

    Cooke will also show the new 35-140mm Anamorphic/i zoom lens at IBC 2016, alongside a variety of Anamorphic/i, 5/i, S4/i and miniS4/i lenses.

    Articles: Digital Photography Review (dpreview.com)

  • Field Test: Shooting action with the Nikon D5

    Nikon’s D5 is a full-frame professional DSLR designed for shooting fast action in tough environments. To test the D5’s market-leading autofocus system, we took the camera out to Santa Fe, and put one in the hands of professional photographer Michael Clark.

    In this field test, DPReview’s technical editor Rishi Sanyal joined Michael to shoot a range of activities, including dirt bikes and white-water kayaking. Watch the video to see how the D5 performed. 

    Click here to read our full review of the Nikon D5

    This is sponsored content, created with the support of Nikon. What does this mean?

    Articles: Digital Photography Review (dpreview.com)

  • 2016 Roundup: 4K action cameras

    Action cameras have come a long way since the very first GoPro hit the market in 2005 (it used 35mm film, if you can believe that.) They’ve increasingly shrunk in size, and video quality has improved dramatically with each new generation. Many offer rear LCDs (a rarity a few years ago), some are even waterproof/shockproof without the need for a case and certain models can even be used for live broadcast. All of them pair with dedicated apps.

    Of course, there are a lot of action cameras available on the market, but there are far fewer capable of 4K video capture. This roundup takes a look specifically at several of the most popular 4K action camera models as well as some lesser known ones too. 

    While Sony and GoPro are both big names in the action camera world, and Ricoh has been making rugged cameras for years, companies like Yi and Wimius may be less familiar. Both are convincing GoPro lookalikes that retail for far less. The Yi 4K sells for $ 250 and in many ways out-specs the GoPro’s current flagship. The Wimius Q1, on the other hand, retails for around $ 70 and was included in this roundup as the inexpensive dark horse in the 4K action cam race.

    In addition to 4K action cameras, this roundup also includes the Olympus TG Tracker, a video-capable data-capturing device (read our shooting experience). It has the ability to not only record 4K video but also capture information like altitude, temperature, location, acceleration and more. 

    We’ve included the following 4K-capable action cameras in this roundup:

    • GoPro HERO4 Black
    • Olympus Stylus TG-Tracker
    • Ricoh WG-M2
    • Sony FDR-X1000VR
    • Wimius Action Cam Q1
    • Yi 4K

    All of the 4K samples footage was shot using each camera’s default settings. You can also view a super cut from our field testing, with footage from each camera, below:

    *Note: Due to technical issues, we were unable to shoot 4K footage with the Sony X1000V at Mount Hood. Sample 4K footage from the X1000V can be viewed here.

    Articles: Digital Photography Review (dpreview.com)

  • 6 tips for shooting fall color

    6 tips for shooting fall color

    The leaves are already starting to turn and the pumpkin beer is already flowing up here in the Pacific Northwest. Fall is just around the corner and photographing fall color is one of our favorite things to do when that autumn chill starts to take hold. Here are some fun and helpful tips to make shooting fall color that much more enjoyable!

    Check the fall color reports

    One of the first things that I always do prior to planning a trip to photograph fall color is to check the trip reports and the fall color or fall foliage reports.

    • The Weather Channel is a great place to get a broad feel for how the fall color season is shaping up. They have a variety of useful maps and tools to give users a good sense of when their region will have peak color.
    • The Smoky Mountain parks guide also has a unique predictive map that offers a bit of insight into how the current years foliage is developing and what it looks like two months out.
    • I also consult local hiking forums and other photographers through social media to get a good sense of how things are coming along. 

    Visit your local Japanese Garden

    One trip that I seem to make on an annual basis is to one of our local Japanese Gardens up here in Seattle. Here are a few tips for catching and shooting the gardens in their prime.

    • Call ahead to get a fall color report and to see if tripods are allowed. A number of the gardens in Seattle (and other cities) don’t allow tripods inside of their gates. 
    • Look for the Japanese Maples! Shooting up ‘inside’ of these gorgeous trees can give them a whole new perspective and can offer up some amazing possibilities in terms of composition.
    • Include the architecture- don’t be afraid to photograph the bridges, pagodas and other structures in the garden- let the fall color become a gorgeous backdrop to the architecture.
    • Go early or late- these gardens tend to get very crowded, so go around sunset or sunrise (depending upon the garden’s hours) to avoid the people and other photographers.
    • Look for abstract and macro possibilities in the garden- colors, patterns and structures can offer a seemingly endless amount of compositional choices.
    • Bring a wide selection of lenses and your circular polarizer- a CPL can really increase the vibrancy of the foliage and having a good selection of focal lengths can help you to expand your creativity.

    Use fall color to add layers

    Fall color can also add layers to a already interesting composition. Finding a way to incorporate fall color into a forest scene or a mountainous landscape can really add depth, character and interesting colors to your image.

    • Use a telephoto lens to minimize the scene and add depth through layers.
    • Look for patterns and textures – a mixture of fall foliage and evergreen trees can offer a nice variety of colors and textures to the scene.
    • Shoot panoramic images – scenes with fall foliage and layers tend to lend themselves very well to a panoramic treatment.
    • Utilize light at different times during the day to emphasize the fall color – the colors in the scene will change drastically throughout the day depending upon the direction and amount of light present in scene, so experiment and take lots of images throughout the day.

    Shoot falling leaves

    Fall foliage doesn’t last forever, but even the falling leaves can add interest and color to your images.

    • One of my favorite things to shoot just after the fall color has peaked are the leaf-covered driveways, streams and trails that seem to be everywhere after the leaves have begun to fall.
    • The fallen leaves can not only add texture and color to your images, but they can also convey motion and help to form leading lines in your composition.
    • If the colors have already peaked in your area, fear not! There are still a number of great shooting opportunities at your fingertips.    

    Go abstract

    Fall foliage offers a unique opportunity to try techniques such as motion blur while your out in the field:

    • Mount your camera on a tripod and adjust your settings to enable your camera to shoot for around 0.5″ to 2″ seconds with proper exposure.
    • You may need to use an ND filter to achieve the longer exposure depending upon the lighting conditions.
    • Press the shutter and while the camera is taking the longer exposure pan the camera vertically to achieve a vertical motion blur in your photo.
    • Experiment with different shutter speeds and varying amounts of movement to achieve your desired result.
    • Blend your motion blur shot with a tack sharp shot in your favorite photo editing program to give your abstract a nice sense of depth and a varying amount of texture.
    • If you’re shooting in windy conditions try taking a longer exposure to blur the leaves while leaving the tree trunks tack sharp.

    Shoot in all types of weather

    One of my biggest pet peeves in photography is the idea that you absolutely have to shoot in specific lighting and weather conditions and at specific times of day. Sure, sunrise and sunset are ideal but I honestly love shooting in anything from blue bird to adverse and frankly bad weather conditions at any time of day. 

    • Don’t get discouraged by the forecasts- fall color offers up some unique opportunities to photograph brilliant colors in snow, rain, sleet and wind. I often find those types of images even more appealing because they tell a story and are very unique.
    • Before you head out to shoot always check your local weather forecasts- fall is a time of year that tends to catch many people off guard, especially while venturing into the mountains, so it’s best to look ahead and plan accordingly.
    • Be prepared for anything – fall is one of the those seasons that can throw rain, sun and snow at you all on the same day.

    Articles: Digital Photography Review (dpreview.com)

  • Lenovo announces Moto Z Play Android smartphone

    Lenovo has announced the Moto Z Play smartphone at IFA in Berlin. The new model slots in below the Moto Z Force and Moto Z in Lenovo’s current smartphone lineup and, like its sister models, is compatible with the Moto Mod range of detachable accessory modules, including the also newly announced Hasselblad True Zoom camera module.

    With a 16MP CMOS sensor, F2.0 aperture, on-sensor phase detection, laser-assisted AF and dual-LED flash the rear camera specification sounds very similar to the Moto G Plus that was announced back in May but, unlike the G Plus, the Moto Z Play is capable of recording 4K video. At the front the new device features a 5MP camera with a 85 degree angle of view and LED-flash.

    Android 6.01 is powered by a Qualcomm Snapdragon 625 chipset with  a 2 GHz Octa-Core CPU. The device comes with 3GB of RAM and 32GB of internal storage that can be expanded up to 2TB via a microSD slot. Images can be viewed on a 5.5″ 1080p Full-HD Super AMOLED display and a fingerprint reader below the screen provides extra security.

    The device body comes with a water repellent nano-coating and a USB Type-C port is used for charging and connection to other devices. Lenovo claims the 3510 mAh battery is good for 50 hours of mixed use, and it also features the company’s TurboPower quick-charging which can give you up to 10 hours of usage in only 15 minutes of charging. 

    The Moto Z Play will be available worldwide in September for €499/$ 408.

    Articles: Digital Photography Review (dpreview.com)

  • Lenovo announces Hasselblad True Zoom camera module for Moto Z smartphones

    Lenovo offers a range of detachable smartphone accessory modules, called Moto Mods, for its Moto Z series smartphones. So far a power pack, a speaker and a mini-projector have been available. Now the company has launched a new addition at IFA in Berlin that is especially interesting to mobile photographers: the Hasselblad True Zoom.

    As its name suggests the True Zoom camera module was developed in cooperation with Swedish camera maker Hasselblad, and with its 10x zoom lens and Xenon flash it converts any Moto Z device into a connected travel zoom camera. Like the other Moto Mods, the True Zoom is attached to the smartphone via magnetic force and can be used instantly – no need to restart the device or pair the phone. Communication between the devices takes place via a range of electronic contact pins.

    The True Zoom’s body is made from a plastic material. Inside, images are captured on a 12MP 1/2.3″ CMOS sensor with a 1.55 um pixel size. The zoom lens offers an equivalent range of 25-250mm and a F3.5-6.5 aperture. Optical image stabilization is on board as well, and the module can record 1080p Full-HD video.

    Currently compatible smartphone models are the Lenovo Moto Z, Moto Z Force and the just-announced Moto Z Play mid-range phone that comes with a 16MP camera, 5.5″ 1080p AMOLED display and a Qualcomm Snapdragon 625 octa-core processor. We have had the chance to test the Hasselblad True Zoom on a Moto Z Force for a few days – you can read about our experience with the module in our hands-on review.

    The Hasselblad True Zoom will ship globally in September and will cost $ 299/€299, or $ 249.99 from Verizon in the US.

    Lenovo’s Moto Mod range includes a power pack, a speaker, a projector and now the new Hasselblad True Zoom camera module.

    Hasselblad True Zoom Moto Mod key specifications:

    • 12MP 1/2.3″ CMOS sensor with 
    • 25-250mm equivalent 10x zoom lens
    • 12MP
    • F3.5-6.5 aperture
    • ISO 100 to 3200
    • 1080p video
    • 2 built-in microphones
    • Physical two-stage shutter button and zoom lever
    • Xenon flash
    • 145g

    Articles: Digital Photography Review (dpreview.com)

  • Hasselblad True Zoom Moto Mod hands-on preview

    At IFA in Berlin, Lenovo has revealed its latest Moto Mod detachable smartphone accessory module: The Hasselblad True Zoom. It’s a camera module with a 10x zoom lens, physical shutter button, zoom lever and a Xenon flash. Like previous Moto Mods it attaches directly to a compatible phone – currently the Moto Z, Moto Z Force and also brand new Moto Z Play will work – magnetically and via a series of contacts on the back of the device. It offers the following specifications:

    • 12MP 1/2.3″ CMOS sensor with 1.55 um pixel size
    • 25-250mm equivalent 10x zoom lens
    • 12MP
    • F3.5-6.5 aperture
    • ISO 100 to 3200
    • 1080p video 
    • 2 built-in microphones 
    • Physical two-stage shutter button and zoom lever
    • Xenon flash
    • 145g
    • Available globally in September for $ 299/€299

    We have had the chance to test a pre-production unit, attached to a Lenovo Moto Z Force, as well as with the new Z Play, for a few days. Read on to find out how we got on.

    Operations and ergonomics

    The docking process is extremely simple and quick. The Hasselblad True Zoom is literally ‘sucked’ in place on the back on the smartphone by magnetic force and usable instantly, without the need to restart the device. The process is much quicker and easier than, for example, attaching the LG G5 camera grip, which requires removal of the battery and a restart. It’s also easier than pairing the Sony QX or Kodak Wi-Fi camera modules. 

    Both smartphone and camera module come with electronic connection pins. Once the two devices get close the camera clips into place by magnetic force.

    The module body is made from a solid-feeling plastic material and the rubberized grip makes it comfortable to hold. In terms of overall dimensions, weight and ergonomics the Moto Z Force with the attached True Zoom module feels not too dissimilar to the Samsung Galaxy Camera models, but gives you the option to remove the module when it’s not needed. The physical shutter button supports half-pressing for locking exposure and AF and, like the zoom rocker, works just like on a compact camera. There is no noticeable lag, and overall operation is very responsive.  

    With its rubberized grip the True Zoom feels comfortable and secure to hold. With an attached smartphone the combo feels similar to the Samsung Galaxy Camera series.

    By default the True Zoom works with the standard Moto camera app, which makes things nice and easy for the user, as no adaption to a new user interface is required. More advanced users will appreciate the full manual control over shooting parameters in Manual Mode and the ability to save Raw files with the JPEG images. The final version of the app will come with a range of True Zoom-specific Hasselblad image modes, but those had not been implemented yet on our pre-production test device.

    In the settings you select DNG Raw format. The final version of the True Zoom will come with a range of Hasselblad image modes.

    You can also use the True Zoom module for capturing images straight from Instagram and similar apps but it appears that at this point manual control and Raw capture are not available in third-party camera apps that focus on photographic control, such as Manual camera or Camera FV-5.

    Image Output

    The 10x optical zoom is one of the True Zoom’s most obvious advantages over a smartphone camera and covers pretty much all focal lengths needed on a typical vacation or trip. The optical image stabilization works very efficiently and keeps things steady at longer focal lengths. On our pre-production unit sharpness does vary a bit across the zoom range though – at some settings there is noticeable softness around the edges. 

    Wide angle, 25mm equivalent, ISO 100, 1/2000 sec

    Tele, 250mm equivalent, ISO 100, 1/320 sec

    In good light the True Zoom produces good exposure and consumer-friendly vibrant colors but in terms of pixel-level detail it does not offer any noticeable advantage over most built-in smartphone cameras. Images show the same smearing of finer low-contrast detail, highlight clipping and luminance noise levels at base ISO that you would expect from a smartphone camera. 

     ISO 100, 1/800 sec
     ISO 100, 1/500 sec

    In lower light the True Zoom images are again on a similar level to built-in smartphone cameras. Image detail starts suffering as you go up the ISO scale and both luminance and chroma noise are becoming more noticeable. Partly this is caused by the comparatively slower apertures of the lens, especially at the longer end of the zoom range. Thanks to the efficient OIS camera shake is hardly an issue, even at longer focal lengths, but in Auto mode slow shutter speeds in low light can lead to motion blur on moving subjects. Thankfully shutter speeds can be manually increased, as long as you’re happy to shoot at higher ISOs.

    ISO 560, 1/30 sec
    ISO 2500, 1/100 sec, manual exposure mode

    The Xenon flash is another big advantage of the True Zoom module. It’s much more powerful than the LED flashes of smartphone cameras and allows for the illumination of subjects farther away from the lens, such as groups of people, and even some of the background. In our testing, exposure was good and we did not see any red-eye effect. In flash mode the camera also keeps the ISO low which makes for decent detail. 

     ISO 200, 1/30 sec, flash

    The True Zoom also shoots 1080p video at 30 frames per second. Image quality is again on smartphone level but the module’s big bonus is the zoom which, thanks to the very efficient OIS, allows for getting closer to your subject, even when recording handheld. The low light video below shot with the zoom set to approximately 150mm equivalent.

    Studio test scene comparison

    Below you can see how the Hasselblad True Zoom performs capturing our standard studio test scene, next to the Moto Z Play’s built-in camera for comparison. 

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    Conclusion

    The Hasselblad True Zoom is the best smartphone camera add-on I have used so far. Attaching it to the phone is super-easy and quick. When it’s not needed, it is swiftly removed and stored away. It feels nice in the hand and the controls work well. The zoom range is very useful and offers a big advantage over the fixed wide-angle lenses in smartphone cameras. The Xenon flash is much more powerful than a smartphone LED and helps keep the ISO down.

    Those looking for premium-compact or even DSLR-like image quality will be disappointed, though. Looking at the True Zoom’s sensor specification, it is no surprise that pixel-level detail and dynamic range are on very similar levels to built-in smartphone cameras. In terms of image quality, the optical zoom, robust image stabilization and Xenon flash are the module’s real advantages.

    Currently, the most obvious disadvantage is the fact that you can only use the Hasselblad True Zoom with a compatible smartphone. That said, the Lenovo Moto Z models are attractive devices in their own right and make a nice package with the module. I enjoyed using the True Zoom on a recent short vacation and, as a photographer, I really hope the module will be an economic success for Lenovo and its subdivision Motorola. This would mean that we’d be likely to see more models in this series. A ‘Pro’ version with shorter zoom range but larger sensor, and maybe a physical control dial, sounds like music to our ears.

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    Articles: Digital Photography Review (dpreview.com)