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  • Panasonic Lumix DC-S1R review in progress

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    The Panasonic Lumix DC-S1R is the company’s high-end, high-resolution full-frame mirrorless camera. It uses a 47MP sensor and is built around the ‘L’ lens mount developed by Leica and now adopted by both Panasonic and Sigma.

    The S1R shares a body with the 24 Megapixel S1, whose size and level of dedicated controls sets it apart from its other full-frame mirrorless rivals. The S1R boasts a very high resolution (5.7M-dot) viewfinder, top plate LCD panel, twin card slots and pro-level build-quality that promises to be weather resistant.

    The S1R has a multi-shot high resolution mode, which delivers 187MP Raw files. In addition, it can shoot UHD 4K video at up to 60p. However, this video has a slight crop and is achieved by pixel-binning. Until the video-centric S1H sister model arrives, the less expensive S1 is the stronger video camera.

    Panasonic Lumix S1R Key Specifications

    • 47MP full-frame CMOS sensor
    • Depth from Defocus contrast-detect AF system
    • 5-axis in-body ‘Dual IS’ system
    • Fully weather-sealed
    • 187MP ‘High Res’ mode
    • 6 fps bursts with continuous AF
    • 5.76M-dot EVF
    • Dual-hinged 2.1M-dot touchscreen LCD
    • UHD 4K/60p video capture with 1.09x crop and pixel-binning
    • One XQD and one SD card slot
    • 360 shots/charge using LCD
    • USB charging, including from laptop/tablet chargers and portable power banks

    The S1R has a list price of $ 3699. Alongside the camera, Panasonic announced 50mm F1.4, 24-105mm F4 and 70-200mm F4 lenses for the L system. They are priced at $ 2299, $ 1299 and $ 1699, respectively. There’s also the option to use existing Leica’s SL lenses, its APS-C ‘TL’ series and a range of Sigma’s ‘Art’ lenses that it has announced for the L mount.

    A battery grip (DMW-BGS1) is available for around $ 350.


    What’s new and how it compares

    The S1R has a range of features, including a multi-shot high resolution mode, an HLG-compatible HDR mode and a 6K Photo system to grab stills from video footage.

    Read more

    Body and handling

    The S1R has a comparatively large body, which provides plenty of room for direct control points.

    Read more

    Operation and control

    In addition to the direct controls, the S1R has a revised menu system and user interface.

    Read more

    Video specifications

    The S1R is the least video centric of its S-series peers, but it’s still capable of capturing some nice clips.

    Read more

    Studio scene

    The Panasonic S1R renders resolution well in its standard mode, but its eight-shot high-res mode extends this into medium format territory (for appropriate subject)

    Read more

    Sample gallery

    We’ve been shooting with the S1R in a variety of situations, to show what the Panasonic flagship can do.

    Read mode

    Articles: Digital Photography Review (dpreview.com)

  • DPReview TV: What is shutter angle, and why is it better than shutter speed when shooting video?

    Have you heard video pros talk about using shutter ‘angle’ instead of shutter speed? Chris explains what shutter angle is and why it’s often more useful than shutter speed for video work.

    Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

    • Introduction
    • A bit of history
    • 360-degree shutter
    • 180-degree shutter
    • 90-degree shutter
    • Downsides of using shutter speed
    • Why shutter angle is more useful than shutter speed
    • Wrap-up

    Articles: Digital Photography Review (dpreview.com)

  • Canon RF 35mm F1.8 IS STM Macro Review

    No Award

    86%
    Overall score

    The RF 35mm F1.8 IS STM is one of four lenses announced alongside the Canon EOS R, the first camera in the company’s new EOS R mirrorless system.

    Something of an odd one out in that quartet, it’s the only non L-series lens released for the RF line to date, although that will soon change with the arrival of the RF 24-240mm F4-6.3 IS USM later this year. It’s also around half the price of the next cheapest lens in the system, while its focal length and aperture, combined with the fact that it’s a prime lens, also allow it to be considerably smaller and lighter than every other option so far. All of this should mean it holds particular appeal for EOS RP owners who’d like to start exploring the native lens selection but find their camera bodies – and/or wallets – overwhelmed by the other current native offerings.

    A 35mm F1.8 option is a fairly sensible and versatile lens to have at the start of a system, and its broad appeal should pique the interest of street, travel, nature, portraiture and even landscape photographers. The added bonus of image stabilization also makes the absence of sensor-based stabilization from the current bodies less of an issue, while ‘Macro’ in the name indicates a close focusing distance of 17cm / 6.7 in (albeit shy of being truly macro, offering a maximum reproduction ratio of 1:2).

    All pictures by Matt Golowczynski unless otherwise noted.

    Key Specifications:

    • Focal length: 35mm
    • Aperture range: F1.8-22 (In 1/3EV stops)
    • Filter thread: 52mm
    • Close focus: 0.17m (0.56ft / 6.7in)
    • Maximum magnification: 0.5x
    • Diaphragm blades: 9
    • Hood: EW-52 (optional)
    • Length / Diameter: approx. 74.4 x 62.8mm (2.93 x 2.47in)
    • Weight: approx. 305g (approx. 10.8 oz.)
    • Optical construction: 11 elements in 9 groups

    The lens has a new formula that sees 11 elements arranged in nine groups. This includes a single glass moulded aspherical element within the focusing group in the middle of the formula, which is in place both to combat spherical aberration and also to keep image quality consistent over focusing distances.

    With the lens mounted on either the EOS R or EOS RP, you have access to Canon’s full suite of aberration-rectifying options that deal with vignetting, lateral chromatic aberration, distortion and diffraction, in addition to the Digital Lens Optimizer that aims to counter the softening effects from diffraction, among other things.

    The optical design of the RF 35mm F1.8 Macro is similar to the older EF 35mm F2, but flipped. Whereas the older optic (designed for DSLRs) has a large front element and a small rear element, the RF 35mm F1.8 (designed for mirrorless) has a small front element and a large rear element.

    Canon has pointed out how the RF mount’s width and the short flange back distance gives new freedom to lens designers, and the optical design here – or, more specifically, the way in which this differs from existing designs in similar lenses – appears to back that up. The rearmost element sits very close to the back of the lens itself and is the largest in the array. Canon claims that this is one of the key reasons for the high corner-to-corner sharpness, even when the lens is used wide open. A diagram of the optical construction also shows that the aperture diaphragm is positioned relatively close towards the front of the lens, which is said to be one reason why the lens can offer such a wide aperture without compromising on size.

    The diaphragm is made up of nine blades, which bodes well for round bokeh, while the minimum focusing distance of 17cm gives a minimum working distance – i.e. the distance from the front of the lens to the subject – of 7cm.

    A hood isn’t provided with the lens as standard, and that may well be explained by the likelihood of the average user needing or wanting to use it with such an optic. Still, for this kind of money it’s a bit disappointing not to have a hood included.

    Design and Handling

    Not only is this is the lightest and most compact RF lens so far, but the roadmap Canon unveiled towards the start of the year suggests that will remain so for a while. It’s 30g lighter than the existing EF 35mm F2 IS USM and just a fraction wider, but 70g lighter and considerably shorter in length than the Nikon Z 35mm F1.8. Unlike the latter lens, however, this one isn’t weather sealed.

    The lens balances very nicely on the EOS R body and is light enough to allow for one-handed operation when required. Two large switches on the barrel provide control over focus mode and image stabilization, and these click between positions positively. They also barely protrude from the casing, which makes it difficult to inadvertently knock them out of place.

    The outer barrel’s matte gray finish mirrors that of the EOS R body, as does the silvery rear of the inner lens barrel with the host cameras throat. The mount is metal and build quality overall appears to be perfectly good.

    The lens is encircled by a Control Ring towards its front and a focusing ring towards the middle of the barrel. While the pair sit close to each other, their different finish, together with the fact that the Control Ring is clickable, mean you’re unlikely to mistake them in use.

    You can customize the action performed by the Control Ring to your liking, or even deactivate it completely if that suits you, and it’s also possible to switch the direction of rotation if the default arrangement bothers you. If enabled, you can opt for it adjust aperture, shutter speed, ISO or exposure compensation, and in each case you can select whether the ring adjusts these at all times or only when you have your finger half-pressed on the shutter release button. The setting you select stays the same between exposure modes, which you probably won’t find to be an issue unless you tend to hop between exposure modes with some frequency.

    Some predictable limitations occur with some combinations or setting and exposure mode, such as no exposure compensation control in manual mode, and no adjustment of aperture in shutter priority mode (and vice-versa).

    The Control Ring provides excellent feedback, with increments nice and coarse, and the camera responds without any delay. Those looking to use the lens for video might be disheartened to learn there’s no way to alternate be-tween clicked and de-clicked operation, but if you’re happy with it being permanently de-clicked, Canon can do this for you (for a fee).

    Articles: Digital Photography Review (dpreview.com)

  • This dead Polaroid SX-70 was rebuilt as a fully functional digital camera

    Josh Gross, a managing partner at design and development studio Planetary, has published a writeup detailing the conversion of an old defunct Polaroid SX-70 into a fully functional digital camera. The finished product retains the same external design as the original, but the innards have been heavily modified to include a Raspberry Pi Zero W and CCD sensor.

    Gross details the rebuild in a blog post on his website, where he explains the project’s trickiest aspect was fitting the CCD and lens camera assembly into the Polaroid’s head. The original focus wheel and exposure wheels stayed intact, as well as most external components.

    Moving on from the lens assembly, Gross says he removed the Polaroid camera’s Fresnel mirror and replaced it with a small 6.3cm (2.5in) screen in order to provide a live image preview. The screen assembly and battery were mounted within the camera’s film storage area, and the rest of the components were added.

    One of the final images captured with the finished product.

    Gross used OpenCV and Python on the software side for processing and displaying images. Size constraints required the use of a fisheye lens, so Gross used software to remove the fisheye effect for more authentic final images. Overall, he explains the project took 8 months of ‘on-and-off’ work to complete. Below is a full gallery of images shared with permission from Gross:

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    ‘Was there a point to it? Absolutely not,’ Gross says in his writeup. ‘Was it fun? Hell yeah.’

    Articles: Digital Photography Review (dpreview.com)

  • Apple smartwatch patent hints at future Apple Watch models with built-in cameras

    The United States Patent and Trademark Office (USPTO) has published an Apple patent detailing a method for adding a camera to future Apple Watch models. Rather than packing the camera module into the smartwatch body like some competing models, Apple’s design embeds the camera into an adjustable strap over the wrist band.

    Based on images included with the patent, Apple envisions a smartwatch camera that is hidden out of sight against the wrist band when not in use. To capture images, the user extends the flexible strap in which the camera is embedded, making it possible to capture selfies without contorting one’s wrist at an uncomfortable angle.

    Apple explains in its patent:

    ‘Such functionality can replace or at least meaningfully augment a user’s existing camera or camera-enabled device (e.g., smartphone, tablet). Such a wearable device that captures images and video may do so via an optical lens integrated into a distal end portion of a watch band that retains the device on a user’s wrist.’

    Apple’s design involves a ‘core’ in the camera band that enables it to hold its position at whatever angle the user chooses. The patent indicates that some Apple Watch models may feature two cameras on the flexible band, making it possible to capture scenes both facing toward and away from the user.

    In its latest iteration, the Apple Watch enables users to leave their iPhone behind by offering built-in cellular capabilities. The newly published patent indicates Apple views the camera as a possible future element for expanding the wearable’s independent functionality — users won’t have to choose between being able to snap images or leaving their iPhone at home.

    The patent explains:

    ‘A smartwatch that has the capability of capturing images and video may provide an opportunity for users to be more reliant on their smartwatch and less reliant on other devices (e.g., smartphones, tablets, digital cameras) to capture images or videos. Thus, a smartwatch with the capability of capturing images or videos may enable a user to forego carrying a smartphone when doing some activities, especially activities or environments where it would be difficult to take a smartphone (e.g., hiking, running, swimming, surfing, snowboarding, and any number of other situations).’

    The patent raises questions over whether camera functionality is something consumers truly want from a smartwatch. Though it would be convenient for taking stealthy images (that is, without pulling out a phone), the image quality would likely be considerably lower than what can be captured with the iPhone. As well, a camera positioned at the end of a thin extended band on one’s wrist would likely face blur issues due to slight tremors and other movements.

    As with any patent, it’s possible Apple will never bring an Apple Watch with built-in cameras to the market.

    Articles: Digital Photography Review (dpreview.com)

  • Syrp’s Genie Mini II portable motion control system adds USB-C and improved connectivity

    Syrp has unveiled Genie Mini II, a sequel to the original pocket-sized camera motion controller introduced in 2016. The second generation model retains the same general design and features as the original, but with the inclusion of USB-C instead of micro USB, Bluetooth 4.2 instead of Bluetooth 4.0, and WiFi.

    The Genie Mini II offers the same portable panning functionality as the original, enabling filmmakers to capture smooth motion in real time and photographers to capture time-lapses. The motion control system supports multi-row panorama capture, offers Astro Time-Lapse and HDR modes, and offers an Ease In/Ease Out feature.

    The device works with Syrp’s Genie 2 app for Android and iOS offering keyframed motion control in addition to various presets for easily initiating shooting sessions. According to Syrp, the new Bluetooth 4.2 support makes it possible for advanced users to ‘advantage of more complex, custom motion control settings and multi-row panoramas to create 360/VR images.’

    The Genie Mini II, which has a total load capacity of 3.9kg (8.8lbs), is designed to sandwich between a tripod and camera. The device is powered by an internal lithium-ion battery capable of powering six hours of continuous smooth panning, an increase from the previous version’s five hours, or up to a 15-hour time-lapse, a noticeable decrease from the original’s 24-hour duration. The new model has a max 360-degree capture speed of 33 seconds.

    Syrp has launched the Genie Mini II for pre-order at the same $ 249 price as the original model.

    Articles: Digital Photography Review (dpreview.com)

  • 5 Photography Rules for Capturing Photos Your Audience Will Adore

    The post 5 Photography Rules for Capturing Photos Your Audience Will Adore appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

    It’s hard to stand out as a photographer.

    These days, you have so many photos to compete against; the internet is drowned in smartphone snapshots (with layer upon layer of filters).

    So how do you create images that cut through all the noise? How do you create art that will truly stun your audience?

    5 Photography Rules for Capturing Photos Your Audience Will Adore

    In this article, you’ll discover 5 simple photography rules for capturing photos – which will ensure that your photos are truly special.

    Let’s dive right in, starting with…

    1. Do everything you can to emphasize your subject

    If you want to capture photos that stand out, then this is your number one rule:

    Pick a subject. Something that stands out in your photo. Something that acts as an anchor point.

    And make that subject stand out as much as you can.

    You see, it’s your main subject that actually captivates people. The rest of the scene exists to enhance that main subject.

    But how do you enhance your main subject?

    Start by making sure that your main subject is extremely sharp. Make sure it’s the sharpest part of the photo, in fact.

    And make sure that your main subject has some color. Color draws the eye!

    Third, make sure your main subject is bright and well-exposed. A dark subject (especially if it’s surrounded by a dark background) just won’t work. If you do include a dark subject, then make sure that the background is extremely bright.

    On a related note, more contrast is nearly always better. If you can incorporate some ultra-dark tones and ultra-light tones in your photos, your photo will instantly improve. Ideally, your background and your main subject will contrast heavily.

    Last, keep your background as clean as possible. It doesn’t have to be completely uniform but should be simple and well-organized. When in doubt, go for a monochromatic background, such as black, white, or green.

    2. Use complementary colors to make your photos pop

    You already know how important it is to include contrast.

    But there’s a special kind of contrast that deserves its own mention:

    Color contrast.

    Color contrast refers to the addition of colors that sit opposite one another on the color wheel (also known as complementary colors).

    You’re probably familiar with color contrast, even if you don’t know it. We see complementary color pairs all the time: red and green, blue and orange, yellow and purple.

    Now, color contrast is perfect for creating stand-out photos. It catches the eye, and it practically forces viewers to look more deeply.

    One thing to note, however, is that you shouldn’t use too many contrasting colors. I recommend simply including two complementary colors (and potentially a third non-complementary color). If you incorporate too much contrast, the photo will become too powerful, and the colors will start to clash.

    I also recommend you limit the amount of the complementary colors that appear. If you have two complementary colors, include a lot of one color, and a little of the other. This will prevent the photo from overpowering the viewer.

    Finding contrasting colors might seem difficult. But with a little effort, you should be able to incorporate a contrasting color pair.

    And you’ll love the effect!

    3. Use negative space to stun viewers from a distance

    Negative space is emptiness in a photo.

    By this, I’m referring to empty sky, empty water, or even an empty background – it all counts as negative space.

    And negative space is extremely valuable, for a few reasons.

    First, it gives the main subject some breathing room.

    It also makes compositions feel calm and more stable (which is generally nice to have in a photo).

    But the best thing about negative space is that it is a place where the eyes don’t rest – thereby directing the viewer straight to the main subject.

    So here’s what I recommend:

    When you’re deciding on a composition, incorporate at least some negative space into the photo. If you can, create a lot of empty space – but even a little space will go a long way.

    It’s best if the negative space exists around the main subject. That way, attention is immediately directed to the focal point of the photo.

    But any negative space is good!

    4. Include leading lines to draw in the viewer

    I’ve talked a lot about emphasizing the main subject of your photos.

    This is because the most striking photos hit the viewer over the head with their subject. They pull the viewer in and direct them through the frame – right to the focal point.

    That’s the mark of a powerful photo.

    And here’s another great way to emphasize your subject:

    Use leading lines. Include them whenever you can.

    Leading lines are lines that draw the viewer through the frame. They can be anything vaguely line-like: A river, an outstretched arm, even a flower petal.

    Whenever you find a photo-worthy scene, search for leading lines. And incorporate them into your composition. Ideally, the leading line moves toward your subject. But you can also include leading lines that take the viewer around the frame.

    Most scenes have some sort of leading line. You just have to look hard enough!

    5. Always shoot in the best light you can find

    Out of all the rules in this article, I think this one will give you the biggest bang for your buck. Because it’s so easy to shoot in the best light – you just have to know what the best light is.

    And once you know this…

    Your photos will never be the same. Seriously.

    So, what is the best light?

    The best light is the hour after sunrise and the hour before sunset, known as the golden hours.

    These are the times when the sun is low in the sky, and casts a golden glow over the landscape. If you shoot during the golden hours, your subject will be bathed in beautiful light. And you’ll absolutely love the images you capture.

    Now, there are other times when the light is good, depending on your genre of photography.

    If you’re a street photographer, you should try shooting during the middle of the day, when the light is sunny.

    If you’re a flower photographer, you should try shooting when the sky is heavily overcast.

    If you’re a portrait photographer, you should also try working on overcast days.

    But even though these types of light do work…

    …the golden hours are perfect, without fail. They’ll always get you something wonderful.

    Photography rules for capturing photos your audience will adore: conclusion

    Standing out in the crowded field of photography is a difficult task.

    But if you apply these simple photography rules, you’ll have a much, much better chance.

    So take these rules to heart, get out, and start shooting!

    Excitement awaits.

    Have any more rules for capturing photos that your viewers will adore? Share them in the comments!

     

    5 photography Rules for Capturing Photos Your Audience Will Adore

    The post 5 Photography Rules for Capturing Photos Your Audience Will Adore appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


    Digital Photography School

  • Report: Apple stops development of quantum dot image sensors

    Last week, shares of Nanoco Technology, a UK company specializing in quantum dot (QD) technology, dropped by nearly 80 percent after news broke that a high-volume supply-contract had been canceled by a major customer.

    The Telegraph now reports this customer is Apple which has been working with Nanoco on the development of QD technology for image sensors that could have been used in future iPhone generations. According to market research firm BlueFin Research, Apple decided to stop the development of QD image sensors because it was too expensive for mass production.

    Nanoco first announced a partnership with a ‘large, undisclosed U.S. listed corporation’ in 2018. In January of this year it announced the contract had been expanded to cover stress testing and refinements. According to the report, the contract had a volume of £17.1 million ($ 21.7 million) which is more than half of Nanoco’s total revenue.

    The UK company specializes in cadmium-free QDs, which are currently predominantly used to improve image quality on TVs and other high-resolution large screens where the dots’ light-emitting properties allow for more accurate color rendering. In an image sensor Apple and Nanoco were hoping to apply the technology to enhance image quality and help with the development of advanced augmented reality features.

    With QD technology off the table, it remains to be seen if Apple’s iPhone cameras will rely on more conventional technologies for the foreseeable future or if the US company has another innovative image sensor card up its sleeve.

    Articles: Digital Photography Review (dpreview.com)

  • 5 Tips for Better Travel Photography

    The post 5 Tips for Better Travel Photography appeared first on Digital Photography School. It was authored by Jeremy Flint.

    Travelling with you camera is one of the highlights of embarking on any trip at home or abroad. Whether you enjoy visiting interesting places, soaking up the sunshine or embarking on adventurous activities, here are some tips for better travel photography.

    1. Do your research

    Better travel photography 01

    Provence, France © Jeremy Flint

    One of the most fundamental aspects of travel photography is to do your research about the destination you are visiting. Finding out about a location and obtaining information about a place and its attractions will help you to plan your trip. From this information gathering process, you can learn more about your destination. Ask yourself what you most want to see. Spend your time visiting the places that interest you.

    2. Decide what to photograph

    Better travel photography 02

    Provence, France © Jeremy Flint

    There are two approaches to consider when deciding what to take pictures of when on location. Firstly, you can come up with a plan for the things you want to photograph. Alternatively, you can be more spontaneous and walk around and photograph anything you see that inspires you. The advantage of the latter is that you can be more creative with no pre-conceived ideas of what you are going to photograph.

    3. Manage your expectations 

    If you are visiting somewhere for a short period of time, you may not have enough time to cover all of the touristic sights and highlights. Therefore, you will need to decide in advance where you would like to visit and photograph and what your photographic priorities are.

    Be realistic with your time. It will be a more enjoyable experience. Don’t try to do so much that you end up exhausted after the trip. You will often find that you won’t have enough time to cover everything on your first visit. I recommend choosing one or two places that you would really like to see and photograph. Just go there in case you end up running out of time. By visiting fewer places, you may do more justice to your photos – particularly if you can stay around to combat frustrations of travel photography such as adverse weather conditions.

    Moreover, you can always visit again to cover the areas you miss.

    Better travel photography 03

    Palawan, The Philippines © Jeremy Flint

    On a recent trip to the Philippines, I was pushed for time and decided to base myself in one place where I visited and photographed my surroundings. This made for a much more enjoyable trip. I wasn’t rushing around trying to see everything in one go, and I could take advantage of any favorable weather.

    Ultimately managing your expectations depends on your goals, what you want to photograph, and how much time you want to spend at different locations.

    4. Embrace the culture

    Better travel photography 04

    Papua New Guinea © Jeremy Flint

    Visiting a new location with your camera should be about more than just taking pictures. When visiting foreign lands, you are bound to come across cultures that are different from those found in your home town and country. To make the most of the place you visit, be open to the culture that is present. Experiencing a culture first-hand is as much a part of the enjoyment and wonder of a new place as it is to photograph its landmarks.

    On a recent visit to Romania, I wanted to photograph the country’s attractive landscapes. While there, I was bowled over by the kindness and hospitality of the people. By embracing the local culture, I found the trip to be so much more rewarding.

    Be open and flexible. Allow time for cultural experiences to happen.  

    5. Enjoy your trip 

    Better travel photography 05

    Palawan, The Philippines © Jeremy Flint

    Whilst taking photos is all part of the fun of documenting your adventures, be sure to have some non-photography time too.

    Have you ever been on your travels only to find you feel worn out after the trip from doing too much photography? Well, try not to spend all your time behind the camera taking pictures.

    To enjoy your travels more, take time out from photography and enjoy the sights and surroundings without your camera. You will feel more refreshed, and your creativity may be better as a result of it.

    Conclusion

    Travel photography is one of the most enjoyable aspects of photography, particularly as you have the opportunity to visit places near and far with your camera.

    For better results in recording your journey, research your destination in advance. Decide what you would most like to photograph. Be realistic with what you expect to capture, embrace the culture and most importantly enjoy your trip!

    Share your travel photos and any other tips for better travel photography in the comments below.

     

    Tips for Better Travel Photography

    The post 5 Tips for Better Travel Photography appeared first on Digital Photography School. It was authored by Jeremy Flint.


    Digital Photography School

  • Oppo reveals world’s first smartphone with under-display front camera

    Earlier this months both OPPO and Xiaomi teased technology that allows the front camera on a smartphone to be located under the display, avoiding any notches, pinholes or other screen interruptions.

    Today OPPO has shown a first device with the feature at MWC Shanghai and provided more information about the under-display technology. In order to make things work both customized displays and camera modules are required.

    The display section covering the camera is made of a highly-transparent material and features a redesigned pixel structure that is optimized for the transmittance of light. Still, some light will be absorbed by the display, so the camera comes with a bigger sensor with bigger pixels and a larger aperture than you’d find in conventional front cameras.

    There are also customized white balance and HDR algorithms to help boost camera performance and to further reduce the transparent display’s unavoidable detrimental impact on image quality OPPO has developed a haze removal algorithm for sharper and clearer image output.

    In its announcement OPPO said it is developing a “futuristic, notchless, unibody and highly-recognizable smartphone,” but has not provided any detailed specs or information on pricing or availability.

    Articles: Digital Photography Review (dpreview.com)