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Apple wants to patent a ‘Synthetic Selfie’ app

Group self portraits are a great way of capturing memories with friends at events or while traveling. However, they’re notoriously difficult to take. It tends to be near impossible to get everyone together to pose for the shot and then there´s always someone in the group who don’t like their expression in the photo and want it retaken or even deleted.

Apple is now tackling this problem with technology. In a recent patent application titled ‘Generating Synthetic Group Selfies’ the company describes a system in which several mobile devices are used to capture self portraits of each user individually. This allows everyone to get the perfect shot of themselves in their own time.

The process is started by one user sending out invitations to the rest of the group. Everyone then captures their selfie and sends it to the first user’s device. Invited users have the possibility to reject participation. The app could also be setup to limit participants to persons within a certain geographical distance to the originator. This way only people at a specific event at that time will be able to appear in the shot.

Computational imaging methods are then used to cut out the subjects in all images and arranged in one shot in a way that resembles a real group shot, with heads staggered in rows to fit subjects at the back into the gap between the to faces in front of them. The final layout will be be optimized for the number of people in the shot and the scaling of the image.

Once all subjects have been arranged, a background is added to the image. This could be the background of the initiator’s selfie shot or a completely different photograph. Of course the final result can be saved and shared via all usual methods.

The final synthetic group portrait can also be stored as a collection of self portraits, along with the background image, and data on positioning of each person within the group shot. This allows for manual reordering of faces by each participant to their own liking.

As usual there is now way of knowing if we will ever see the system operational on a smartphone or other mobile device. However, all the technologies to create the described system in the form of a mobile app should already be at Apple’s disposal today.

Articles: Digital Photography Review (dpreview.com)

April 5, 2019
Lessons from the Masters: Imogen Cunningham

The post Lessons from the Masters: Imogen Cunningham appeared first on Digital Photography School. It was authored by Adam Welch.

It’s easy enough to develop the illusion that the legendary names venerated throughout the history of photography were somehow so different from ourselves. While’s it’s certainly true that the photographic climate has changed, we still share the same passion for the art as those who clicked shutters fifty years or even a century ago. Many of them faced the same challenges, inspirations, successes and failures as we do. Perhaps that’s why I love learning more about the giants of photography and applying lessons from their work to my photos.

In this installment of “Lessons from the Masters,” we’re going to take a closer look at the work of the estimable Imogen Cunningham. Her determination and herculean achievements placed her working alongside other formative photographers of the 20th century. The contributions she made to photography as an art helped shape the photographic landscape we know today.

Imogen Cunningham

Self Portrait with Korona View, 1933 ©2019 Imogen Cunningham Trust

Named after the heroine of the Shakespearean play Cymbeline, Imogen Cunningham entered this world on April 12th, 1883. Born to rather paradoxical parents (her father a spiritualist and her mother Methodist) in Portland, Oregon she was a self-described “ill-tempered” child.

When she was 18 years old, she saved enough money to purchase (via mail order) her first camera in 1903, a 4×5 type, along with a box of glass plate negatives. She then began teaching herself how to make photographs. Cunningham knew photography would be her life’s work although her path would not be a direct one.

Following her graduation from the University of Washington with a degree in Chemistry in 1907, Imogen worked with Edward Curtis at his Seattle studio. There, she honed her skills in the darkroom while printing his iconic images of Native Americans and the American West.

Two years later, Cunningham received a $ 500 grant which enabled her to continue her studies abroad in Germany. During this time she developed theories on photographic chemistry still practiced today.

On her return to the west coast from Europe, Imogen made a familiar pilgrimage which other notable artists of the time often made and ventured to New York City for a meeting with the legendary Alfred Stieglitz at his “291” gallery. Stieglitz introduced her to Gertrude Käsebier who was the first professional female commercial photographer at that time.

After this influential meeting, Imogen committed her energy to photography. She opened a studio in Seattle, Washington and soon made a name for herself through portraits.

It was this studio where Imogen made her living while finding time to delve into more personal work before relocating to California in 1917. Unfortunately for us, she left the majority of her photographs and negatives behind, so there isn’t a large wealth of examples from that period of her career. In 1929, the Film und Foto Exhibition in Stuttgart, Germany, included a ten-piece selection of Cunningham’s work. The fabled Group f/64 would form a few years later to which Imogen was a founding member. Other founding members included her friend Edward Weston as well as Henry Swift, John Paul Edwards, Sonja Noskowiak, Ansel Adams and Willard Van Dyke. Over the years, Imogen Cunningham’s body of work would be as eclectic as it was groundbreaking.

Imogen photographing Ansel Adams…photographing Half Dome in 1953. ©2019 Imogen Cunningham Trust

After living an extraordinary life of photography, Imogen Cunningham passed away on June 23rd, 1976 in San Francisco, California at the age of 93.

Now that you know a little bit about the person, let’s dig a little deeper. We’ll look at a few of the many the lessons you can learn from the life, work, and attitude of Imogen Cunningham which can help to improve your photography.

Extend your range

Imogen Cunningham’s choice in subject matter was ‘diverse’ to say the least. From her earliest pictorial work to her self portraits and nudes, it’s safe to say that the idea of sticking to one subject or even one genre for that matter was not something that held back the creative spirit of Imogen Cunningham. She believed that photographs presented themselves to her organically.

She seldom went “looking for things to shoot,” instead preferring to allow the subject matter to appeal to her aesthetic awareness. I mean, come on, she was even one of the early practitioners of street photography before there was street photography!

Hashbury, 1967. ©2019 Imogen Cunningham Trust

Many of Imogen’s most iconic photographs gravitated towards the use of light and shadow to present common scenes in an extraordinary way by accentuating texture and shapes. She could look past what a subject was to see what it could be. This beautifully simplistic aesthetic is one of the reasons so many Cunningham prints carry a timeless appeal.

The Unmade Bed, 1957. ©2019 Imogen Cunningham Trust

Sometimes we find ourselves concentrating so vigorously on obtaining a particular photograph that we overlook other opportunities to produce great work. While it’s true that we can and should visualize how we want the final image to appear, the process is often helped along if we remain flexible.

One of my favorite photographs by Imogen Cunningham, “Callas” from around 1925. ©2019 Imogen Cunningham Trust

Don’t allow yourself to be mired down by one particular subject or location. This is especially true for us today while bombarded by social media accounts producing visually similar photos according to a theme rather than personal expression. This leads to an almost unconscious dulling down of creativity.

My own still life photo of lilies making use of light and texture to bring out the subtle elegance of a simple subject.

Photograph anything and everything that you please – even if might not fit with what you generally shoot.

Feel the fear…then do it anyway

One of my favorite quotes from Imogen Cunningham goes like this:

“…you can’t expect things to be smooth and easy and beautiful. You just have to work, find your way out, and do anything you can yourself.”

Without a doubt, Imogen was a strongly independent, capable and witty woman who pursued her work with an intensity of purpose. At the same time, she was human. She faced challenges, hardships, and fear just as we all do.

The key to overcoming your self-doubt is to keep moving forward. I think that’s what Cunningham was getting at here. It’s not that we should strive to be fearless but instead work to be tireless in the face of fear or our lack of confidence.

When it comes to photography, there will always be areas where we don’t feel as knowledgeable or proficient as we would like. However, that shouldn’t reduce you to thinking you will always feel that way. Take it from Imogen. Work hard and accept that you won’t always find yourself in easy situations. But never, never, never give up.

Interface with other photographers

Surrounded by other photographers, like many other defining artists of her time, Imogen loved discussing all aspects of photo work. As a founding member of Group f/64, she understood the value of sharing ideas and concepts with other photographers who approached the medium with the same zeal as she did. They learned from one another and worked to further the craft.

One of the most enlightening and enjoyable things I have ever done in this regard was to start the ongoing ITOW (In Their Own Words) Project. This project consists of interviewing other photographers that I either know personally or interact with on social media. The insights gained through these discussions continue to help deepen my own appreciation for the way other people see photography.

By Seth Doyle via Unsplash

Whenever possible, take the time to get to know other photographers and discuss photography openly and honestly. This doesn’t mean you have to strike up a conversation with anyone you see is carrying a camera, but it’s always interesting to examine how other people go about making their images and why.

Worldwide communication has never been more extensive or readily available. We have the capability of connecting with people whom we would have never known existed otherwise. One of the greatest assets we have for growth in our work is by interacting with other people who appreciate the value of photography.

Parting thoughts on Imogen Cunningham

Having been fortunate enough to view some of Imogen’s original prints, it’s easy for me to understand why she was, and still is, one of the most influential and accomplished photographers of all time. Along with other pioneering photographers, we owe a debt of gratitude to Imogen for helping advance photography to the incredible medium we know today.

The lessons we can learn from her work extend well beyond the photographic. She helped show that beauty is found in places and objects we see every day and that we can accomplish almost any goal – no matter how distant it may seem.

I urge you to learn more about Imogen Cunningham, her photographs and her wonderful example of living a full life.

Author’s Note: I would like to extend my immense appreciation to The Imogen Cunningham Trust for permitting the use of many of the photographs presented in this article.

The post Lessons from the Masters: Imogen Cunningham appeared first on Digital Photography School. It was authored by Adam Welch.

Digital Photography School

April 5, 2019
Adobe adds new lens, camera support to Adobe Camera Raw, Lightroom in April updates

In addition to its updates to After Effects and Premiere Pro, Adobe has also updated Adobe Camera Raw, Lightroom CC and Lightroom Classic with updated lens profiles and additional camera support.

Adobe Camera Raw version 11.2.1, Lightroom version 2.2.1 and Lightroom Classic version 8.2.1 adds lens profile support for the following lens and its adapter combinations:

• Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR
• Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR + 1.4x
• Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR + 1.7x
• Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR + 2.0x

On the camera body front, Adobe has added support for the following camera systems:

• Canon EOS RP
• Panasonic LUMIX DC-FZ1000M2 (DC-FZ10002)
• Panasonic LUMIX DC-S1
• Panasonic LUMIX DC-S1R
• Panasonic LUMIX DC-ZS80 (DC-TZ95, DC-TZ96, DC-TZ97)

The latest updates can be downloaded directly from Adobe’s Creative Cloud desktop app for users with the compatible plans. If you don’t have the Creative Cloud Desktop app, you can download it from Adobe’s Creative Cloud website.

Articles: Digital Photography Review (dpreview.com)

April 5, 2019
Sharp announces it’s officially joining Micro Four Thirds system

Electronics giant Sharp has officially joined the Micro Four Thirds system according to a press release on the Olympus global website. In the statement Sharp is identified as a ‘driving force’ behind 8K imaging, suggesting that the company will use the MFT system for its future camera systems.

Sharp has already shown a Micro Four Thirds prototype 8K camera at this year’s CES show back in January, so this announcement just confirms the company’s direction for the future, saying ‘Sharp will add Micro Four Thirds products to their line-up.’

For more information see the Micro Four Thirds organisation and the Sharp websites.

Press release:

Sharp Joins in the Micro Four Thirds System Standard Group

Olympus Corporation and Panasonic Corporation jointly announced the Micro Four Thirds System standard in 2008 and have since been working together to promote the standard. We are pleased to announce that Sharp Corporation has recently declared their support for the Micro Four Thirds System standard and will be introducing products compliant with the standard.

As the driving force behind 8K imaging technology and a product developer, Sharp Corporation now supports the Micro Four Thirds standard. In the future, Sharp will add Micro Four Thirds products to their line-up. The possibilities unique to a joint standard will expand the enjoyment of imaging further.

As the company responsible for initiating both the Four Thirds System and the Micro Four Thirds System standards, Olympus will continue to develop and enhance the product line-up to meet the diverse needs of our customers.

Articles: Digital Photography Review (dpreview.com)

April 4, 2019
Skylum’s new Luminar Flex plugin brings AI features to Adobe apps, Photos on Mac

Skylum has announced Luminar Flex, a new plugin that enables photographers to leverage Luminar’s features while using editing software from other companies. Luminar Flex joins Luminar 3 to offer the company’s AI-powered features, including Accent AI and AI Sky Enhancer, as well as Looks, Foliage Enhancer, Details Enhancer and more.

In addition to offering the Luminar array of AI-powered features, the Luminar Flex plugin also brings Workspaces, the collections of filters designed for different types of photography. Skylum has introduced a new set of Workspaces specifically for Flex users, including Drone & Aerial, Film Lab, Expert, Black & White, Image Aware, Intensify, Relight and Color and Portrait.

The Luminar Flex plugin supports Adobe Photoshop, Photoshop Elements, Lightroom Classic, and Photos for macOS.

For Lightroom users, Luminar Flex brings support for Layers and Blending modes, enabling users to apply filters to layers, and both filters and textures to blending modes. Luminar Flex supports Smart Objects in Photoshop, as well. Ultimately, Skylum says it recommends Luminar Flex to photographers who want access to Luminar’s features as part of their existing workflow rather than transitioning to Luminar 3.

Skylum has given Luminar Flex its own development roadmap separate from the existing Luminar product. Both existing Luminar 3 and Luminar 2018 product owners will get Luminar Flex for free in their accounts starting April 4. For everyone else, the new plugin costs $ 59 / €59 / £54.

Articles: Digital Photography Review (dpreview.com)

April 4, 2019
Canon launches its Sumire Prime collection with seven PL-mount cinema lenses
Canon has announced the Sumire Prime collection, a set of seven Canon cinema lenses that use the PL-mount — a first for Canon, who has previously only ever offered its cinema primes in its own EF-mount.

The Sumire Prime lens collection includes the 14mm T3.1 FP X, 20mm T1.5 FP X, 24mm T1.5 FP X, 35mm T1.5 FP X, 50mm T1.3 FP X, 85mm T1.3 FP X and 135mm T2.2 FP X. All of the lenses in the collection feature an 11-bladed iris, are color balanced across the lineup and have the same minimized focus breathing as Canon’s EF-mount cinema prime lenses.

Sumire — pronounced ‘soo-mee-ray’ — is a word of Japanese origin that is most often associated with ‘a floral gentleness and beauty,’ a characteristic Canon sees in its new lens collection.

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Beyond a whole host of third-party full-frame and Super 35mm PL-mount cameras, the Sumire Prime lenses will work with Canon’s entire lineup of Cinema EOS full-frame and Super 35mm 4K cameras as well. In the event an EF-mount is needed, Canon is offering the option to swap the PL-mount for an EF-mount at its Canon Factory Service and Repair center, a process that can be reversed if needed.

The Canon CN-E24mm T1.5 FP X, CN-E35mm T1.5 FP X, CN-E50mm T1.3 FP X and CN-E85mm T1.3 FP X lenses are scheduled to be available in Summer 2019; the Canon CN-E14mm T3.1 FP X lens in Fall 2019; and the Canon CN-E20mm T1.5 FP X and CN-E135mm T2.2 FP X lenses in Winter 2019/Spring 2020.

Press release:
CINEMATIC IMAGING REIMAGINED: INTRODUCING SUMIRE PRIME LENSES FROM CANON

The Company’s First Set of PL-Mount Cinema Prime Lenses Merge the Art and Science of Cinematography

MELVILLE, N.Y., April 3, 2019 – Covering the core range of focal lengths that cinema professionals desire, Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to announce the company’s first set of seven cinema prime PL-Mount lenses, aptly named Sumire Prime. Pronounced“Soo-mee-ray,” the word is of Japanese origin and is associated with a floral gentleness and beauty. Sumire Prime Lenses offer a unique artistically pleasing look with gentle and beautiful skin tones and smooth bokeh, designed for use with large-sensor cinema cameras, including 35mm full-frame cameras such as the EOS C700FF Cinema Camera.

In addition to bright T-stops and Canon’s renowned warm-color imagery, a unique optical design introduces a nuanced look as the lens aperture approaches its maximum setting – subtly modifying the textural renderings of the human face closeup. It also smooths the transition to the fall-off portions of the scene resulting in a pleasing bokeh. This combination adds emotional expressiveness and provides creative flexibility to create a memorable scene.

“Sumire in Japan is the name of a flower, and like the petals of a flower, our lenses are most beautiful when fully opened. This is the inspiration behind the Sumire look,” said Kazuto Ogawa, president and COO, Canon U.S.A., Inc. “The feedback from cinematographers is crucial and their voices have beenheard loud and clear – they asked Canon to introduce a set of PL-mount cinema prime lenses. We went a step further and our new Sumire Prime Lenses produce the beautifully cinematic and unique images professionals desire. We can’t wait to see how the lenses will contribute to the art of filmmaking.”

The new set of seven Canon Sumire Prime Cinema Lenses include the following:
- CN-E14mm T3.1 FP X
- CN-E20mm T1.5 FP X
- CN-E24mm T1.5 FP X
- CN-E35mm T1.5 FP X
- CN-E50mm T1.3 FP X
- CN-E85mm T1.3 FP X
- CN-E135mm T2.2 FP X
All Sumire Prime lenses feature an 11-bladed iris and bright T-stops that allow users to capture images that feature a more natural circular-like bokeh from both maximum to minimum aperture. The use of an odd number of iris blades also helps to diffuse light rays and produce what is generally considered a more sought after, artistically pleasing and cinematic look with warmer colors. The lenses also achieve uniform color balance throughout the lineup, helping to reduce the need for post grading, even when a production is frequently changing lenses.

The highly durable Sumire Prime lenses feature the same outstanding operability and reduced focus breathing as Canon’s well-established EF-Mount Cinema Prime Lenses. Manual operation provides users with the resistance they desire to make precise changes in focus. A 300-degree focus rotation angle and gear position is consistent across the entire Sumire Prime series of lenses – eliminating the need to adjust gear positions when changing lenses.

“The new Sumire Prime lenses are the perfect blend of science and art,” says cinematographer Matt Porwoll, who shot the first U.S. footage with the lenses. “The bokeh comes alive in ways that weren’t occurring with other lenses I’ve used. Lens flares have a dynamic feel to them, rather than behaving in a formulaic manner. I wish I had these on my last project!”

The Sumire Prime Lenses are compatible with the complete lineup of Canon Cinema EOS full-frame and Super 35mm 4K cameras, including the EOS C700 FF, EOS C300 Mark II and EOS C200. In addition to Canon cameras, the new lenses are also compatible with the latest full-frame and Super 35mm PL-mount cameras from leading manufacturers. Additionally, the mount on the Sumire Prime Lenses is interchangeable and can be converted from PL-Mount to EF-Mount at a Canon Factory Service & Repair center. A Canon representative will be able to perform the service or even revert back to original PL-mount upon request at an additional cost*.

Availability

The Canon CN-E24mm T1.5 FP X, CN-E35mm T1.5 FP X, CN-E50mm T1.3 FP X and CN-E85mm T1.3 FP X lenses are scheduled to be available in Summer 2019. The Canon CN-E14mm T3.1 FP X lens is scheduled to be available in Fall 2019. The Canon CN-E20mm T1.5 FP X and CN-E135mm T2.2 FP X lenses are scheduled to be available in Winter 2019/Spring 2020.

For more information, please visit: usa.canon.com/cinemalenses.
Articles: Digital Photography Review (dpreview.com)
April 4, 2019
7 Tips and Tricks to Learn From Commercial Photographers

The world of photography is an exciting one, and it is only getting more and more accessible as technology improves. Technically, anyone with a smartphone can be a photographer; whether or not you choose to be a “good” photographer is up to you. Commercial photographers are some of the most sought after image-takers in the world as they have to Continue Reading

The post 7 Tips and Tricks to Learn From Commercial Photographers appeared first on Photodoto.

Photodoto

April 4, 2019
Adobe After Effects gets Content-Aware Fill, more in latest Creative Cloud updates

With the annual NAB media show coming up, Adobe has rolled out its spring update for the Creative Cloud video and audio apps, including Premiere Pro, After Effects, Audition, and Character Animator.

After Effects now comes with a new Content-Aware Fill function for video which works pretty much in the same away as the still image version in Photoshop. Users can select an object in the footage that they want removed and Content-Aware Fill does the job automatically, filling in the background.

Premiere Pro now features a new Freeform Project panel that lets you organize clips into select shots, making it easier to build and visualize project ideas. In addition text and graphics alignment is made easier through rulers and guides as well as guide templates that can be shared between After Effects and Premiere Pro. Adobe has also managed to speed up mark tracking. The company says this will make color and effects workflows more efficient. H.264 and HEVC encoding has been optimized for smoother playback in Premiere Pro and After Effects.

In After Effects users have now a an Expressions Editor at their disposal. It was designed with advanced users in mind, for examining code visually and comes with features such as syntax highlighting, line numbers, matching brace highlighting, and code folding.

In Character Animator puppet rigging has been improved to give more personality to characters and new Twitch live-streaming triggers allow for enhanced livestream performances, allowing viewers to engage with characters using real-time costume changes, dance moves, gestures, and poses.

As usual, there are also a range of general bug fixes and performance improvements. All improvements and new features are described in more detail on the Adobe blog. The updates are available now.

Articles: Digital Photography Review (dpreview.com)

April 4, 2019
FixIts biodegradable plastic sticks can be used to fix, upgrade your camera gear

Last summer, a Kickstarter campaign raised funds for moldable, eco-friendly plastic sticks called FixIts. The product is billed as a DIY tool that enables anyone to easily mold durable plastic into whatever little gizmo or component they need, similar to Sugru, but more eco-friendly. The FixIts sticks are now available to order in orange, black, and white colors.

FixIts sticks can be used creatively for a number of projects, and that includes potentially being used to create small custom camera gear mounts and accessories. In addition, the biodegradable plastics can be used to fix broken gear, such as creating a replacement tripod foot, repairing a bit of missing plastic or reinforcing a weak cable.

The product is similar to other moldable plastics; users only need to put the stick into a cup of hot water, wait for the plastic to soften, then mold it into whatever shape is desired and let it cool down. These created components can be heated and used again to create different objects.

FixIts are available now in three-stick packs $ 8.53 / £6.50 / €7.62.

Articles: Digital Photography Review (dpreview.com)

April 4, 2019
Huawei P30 Pro: The new benchmark for smartphone zoom

The P30 Pro, Huawei’s brand new high-end Android smartphone, comes with a whole bunch of innovative imaging features but to many users the most exciting one will arguably be the new device’s innovative zoom system.

The P30 Pro offers a 125mm equivalent periscope-style tele lens and uses image fusion and other computational methods for seamless zooming between the 16mm equivalent focal length of the camera’s super-wide-angle module, the 27mm primary module and the tele.

At the long end reach is extended to an approximately 250mm equivalent focal length using a super resolution algorithm that stacks several frames for increased detail capture. The camera apps even allows for a maximum 50x zoom factor but it’s probably best to limit yourself to 10x for usable results.

We’ve had a few days to try the P30 Pro’s zoom since the device was launched and are so far seriously impressed. By managing to pack an extremely useful zoom range into the thin body of a high-end smartphone the new Huawei is bound to make an important impact on mobile photography and the smartphone market alike.

At the long end reach is extended to an approximately 250mm equivalent focal length using a super resolution algorithm that stacks several frames for increased detail capture.

Let´s start by having a look at the actual zoom range that is covered by the device. The four samples below were shot form the same position, using different zoom settings in the camera app. The super-wide-angle offers, as you would expect, a very wide field-of-view. At 16MP the image is larger than the 10MP output of the primary camera and offers decent detail. There are the usual distortions and softness around the edges you would expect on such a wide lens, and some low-contrast detail is being smeared.

Overall, the camera does very well though, considering these samples were captured on a very gloomy afternoon. The exposure system deals especially well with the bright over cast sky, capturing good detail in the clouds without underexposing the landscape elements of the scene. Below are comparison images showing the difference in quality between the P20 Pro and P30 Pro (the P20 Pro didn’t offer a super-wide camera, so there’s only a P30 Pro photograph for that image).

Super-wide-angle, 16mm

At 27mm equivalent the primary camera offers a typical smartphone field-of-view. The image has a lower 10MP pixel count than the super-wide-angle output but still manages to squeeze better detail out of the scene. We are not talking DSLR-level here but detail rendering is pretty good for a smartphone and more than sufficient for any kind of web use and social sharing.

Full-size images: P20 Pro, P30 Pro

The 5x zoom level (using the primary camera as a reference) is where things get really interesting. Yes, image purists will detect some blurring of fine low contrast detail but the quality of this shot is a large step ahead of the 5x zoom output of any other current smartphone. Detail is decent, dynamic range is excellent and the corners are sharp. This is the first 5x zoom on a smartphone that is genuinely usable for general shooting.

Full-size images: P20 Pro, P30 Pro

Even the 10x setting, which combines the image capture of the tele lens with the effects of a super-resolution algorithm is capable of producing usable results. Some years ago most of us would have been happy with this kind of image out of a travel compact camera. Now you can get it from your smartphone camera, along with all the other useful functions of a high-end device.

Full-size images: P20 Pro, P30 Pro

It’s very reassuring to see that the system continues to deliver good results when light levels go down. The primary camera is actually one of the best we have seen on a smartphone in terms of low light capabilities. If you click through to the full-size version of the night show below you’ll see the camera captures excellent detail and manages to keep noise levels at bay. The exposure system also works very well, balancing the high contrast of the scene and avoiding highlight clipping in the brightest parts.

Primary camera, 27mm, night shot

Thanks to very efficient optical image stabilization and excellent image processing the tele camera still performs well in dim conditions, allowing to zoom into some architectural detail in this night shot.

Tele camera, 125mm, night shot

Detail is getting softer at the 10x zoom factor but the image below is definitely still usable in social media and smaller viewing sizes in general. Given the tele-camera has to capture and stack several frames in low light to achieve these results, this is quite an impressive feat.

Only in very dim light does the camera give up, producing severely underexposed images at the 10x zoom setting. At 5x, when no frame stacking is required, it can shoot for longer in low light, however.

Tele camera plus super-resolution, 250mm, night shot

Shooting with the tele lens that offers more than 2x or 3x magnification is an entirely new experience on a smartphone. The zoomed-in scenes look great on the P30 Pro’s large OLED display and a very efficient combination of electronic and optical image stabilization ensures easy hand-held framing at all focal lengths.

The longer lens compresses the scene a lot more than the wider conventional smartphone lenses and offers a field-of-view that most of us will be familiar with from travel compact cameras. This opens up new possibilities for smartphone photography. You can capture street scenes without getting uncomfortably close and create perspectives that simply aren’t possible with a conventional wide-angle smartphone lens.

Tele camera, 125mm

Tele camera, 125mm

Tele camera, 125mm

Tele camera, 125mm

Overall, it’s fair to say that in terms of zoom performance Huawei is currently light years ahead of the smartphone competition, and for me that’s a good enough reason to make the P30 Pro my go-to device for the foreseeable future — a least until other brands can follow suit and make similar zoom technologies available in their devices.

That said, it would be unfair to reduce the P30 Pro to its zoom system. It’s a high-end smartphone with an excellent all-around camera that shines especially in low light (as long as you stick to the primary module). You can find a wide range of samples across focal lengths and light conditions in the gallery below. For more information on specs and technologies please read our original P30 Pro news story and closer-look article.

Sample gallery

Please do not reproduce any of these images on a website or any newsletter / magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review), we do so in good faith, please don’t abuse it.

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Articles: Digital Photography Review (dpreview.com)

April 4, 2019