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This is it: The 306hp 2023 Honda Civic Type R
The long wait is over: Honda has finally taken the wraps off the new 2023 Civic Type R. Long-anticipated by hot hatch fans, and notable for being the first Type R-badged Honda to be offered officially in the US, the newest, hottest Civic doesn’t stint on power or aggressive design. Indeed, it gets impressively close to Honda’s previous Type R-teasing concepts.
That means big vents, angry red badging, a fairly huge rear wing, and suitably beefy wheels. Honda’s changes are more than skin-deep, mind. The body is 38-percent more torsionally rigid and 45-percent more bending right versus the old Type R, while an aluminum hood trims 15 pounds from the regular 10th generation Civic Hatchback on which it’s based.
Meanwhile, there’s a new four-wheel Adaptive Suspension System with three-chamber dampers, along with a new Dual-Axis front suspension setup with aluminum lower arms and steering knuckles to benefit high-speed cornering while also cutting torque steer. Honda gives the Civic Type R its own spring, damper, and bushing settings, and there’s a retuned, adaptive electric power steering system with variable gear ratio.
A helical limited-slip front differential is installed, along with 20-inch aluminum alloy wheels with 245/30R 20 Continental ContiSportContact 6 performance tires. Since you’ll probably want to stop at some point, Honda throws in Brembo 4-pot aluminum calipers. They’re paired with 13.8-inch cross-drilled rotors at the front, and 12-inch solid rotors at the rear.
As for the engine, Honda has opted for a 2.9-liter DOHC, direct-injected and turbocharged I-VETC in-line 4-cylinder. That’s good for 306 HP at 6,500 rpm, and 295 lb-ft. of torque between 2,500 and 4,500 rpm. A Type R exclusive 6-speed short-throw manual transmission with rev matching through auto throttle-blips will be standard, using a lower final gear ratio for better acceleration response, and a new single-mass flywheel that Honda claims will cut clutch inertia by 25-percent over the old Type R.
Inside, there’s a new driving mode system which can be switched between Comfort, Sport, and +R. Each will tweak the steering and throttle response, along with Vehicle Stability Assist and the adaptive dampers, together with the transmission’s rev-matching. Sports seats with extra bolstering will be standard, plus a leather-wrapped steering wheel and shift boot, aluminum shift knob and sports pedals, a red Type R driver’s meter, and a serialized Type R plate on the center console.
Honda will only offer a single trim level, Touring, with a 7-inch infotainment system with both native navigation and CarPlay/Android Auto support. A 540W, 12-speaker audio system is also standard-fit.
NOW READ: 2023 Civic Hatchback first drive
Excited? You probably should be, and you’re not alone. It’s fair to say that the 2023 Civic Type R is one of the most eagerly awaited cars of the year, and all eyes will be on how all this technology translates to on-road appeal. That, though, we’ll have to wait until late spring to see occur in the US. Final pricing is yet to be announced, but Honda says to expect something in the mid-$30k range.
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2024 Honda Ridgeline Review: Looking the part
Brand identity is a tricky thing to get right. If the second-generation Ridgeline had a problem, it was that it was just too similar, from the front at least, to Honda’s Pilot. That’s not a bad looking SUV, no, but if you weren’t confusing the Ridgeline for its (mechanically similar) sibling, you were probably questioning its softer aesthetics compared to most rival pickups.
There is, for better or worse, a design language we expect from trucks. While practicality is king, they also have to look burly and tough; we expect road presence and a sense of invulnerability, too. The original Ridgeline was odd-looking enough that the conversation instantly shifted to that love-it-or-hate-it appearance, but Honda’s second attempt was just close enough to a family SUV to be an outlier in its segment.
Ironically, of course, a family-minded pickup is just what the Ridgeline always has been, and what it excels at. Driving one is a reminder that trucks don’t need to be lumpy and coarse; they don’t need to wallow and flex across pockmarked asphalt. The Ridgeline’s issue was that it looked a little too much like the SUV it drove like, and so that’s what Honda has changed.
The 2023 Ridgeline gets a brand new front, with everything forward of the A-pillar redesigned. The grille is beefier and more dominant, with wider, scalloped mesh and – on some trims – a chromed strip over the top. It’s more upright, too, between new LED headlamps, while the hood bulges to emphasize the standard V6 engine.
Chunkier plastic cladding for the arches and a new lower bumper add to that visual heft (Honda, ever eager to make maximum use of a change, also uses the functional side vents in that bumper to create aerodynamically-beneficial air curtains around the side of the Ridgeline). New skid plates, a new rear bumper and a 20mm wider track help keep the whole thing looking planted, meaty, and like it’s taking pickup heritage a little more seriously.
My Sport review model came equipped with the $2,800 Honda Performance Development (HPD) Package. That adds 18-inch HPD alloy wheels in a rather fetching gold, plus special fender flares, a unique grille, and – edging on a little too much for my tastes – various HPD decals and emblems. Alternatively there are more practically-minded options packs, like the $1,465 Utility Package with its running boards, roof rails, and crossbars, or the Function+ Package which, for $1,315, adds a hard tonneau cover, cargo nets for the bed and trunk, and cargo dividers.
Pricing starts at $36,490 (plus $1,175 destination) and climbs to $43,920 for the top-spec Black Edition.
The new garb hasn’t diluted the Ridgeline’s core usability, though, and that’s what stands out most. Pickups are a playground for automakers looking to throw in some cunning cubbies and tie-downs, but the Honda arguably got that first with its imaginatively usable extras. The tailgate not only drops down but can swing out sideways, for example, while under half the bed there’s a huge trunk compartment.
You can lock the lid to that, and use it for valuables, or fill it full of ice and treat it as a massive drinks cooler. A drain port on the bottom makes emptying it easier. It’s one of my favorite pickup features, because there are times you just don’t want to have things sliding around the bed.
Speaking of that, the Ridgeline can handle up to 1,589 pounds of payload, and minimal intrusions into the bed mean you can lay 4 foot wide sheets of plywood down flat. For towing, it’s rated for 5,000 pounds: not as high as some rivals, no, but probably sufficient for most drivers’ requirements. RTL-E and Black Edition trims get a 150W/400W power outlet in the bed too, and all trims have bed lighting.
The other big change for the 2023 model year is the drivetrain. Gone is the front-wheel drive Ridgeline option – hence the starting price seemingly jumping up – with all-wheel drive now standard. Not just any AWD, either: it’s Honda’s iVTM-4 system, with torque vectoring. Up to 70-percent of the 3.5-liter V6’s 280 horsepower can be shifted back to the rear axle, and from there up to 100-percent of that power can be funneled to the left or right wheels depending on which has the most traction.
Compared to the AWD systems on rival pickups it’s positively space-age. On the road, it contributes significantly to how SUV-like the Ridgeline feels: planted and steady, with the suspension level and predictable, and none of that unexpected squirming some trucks can suffer when they’re underloaded and you suddenly gas things up. The 9-speed automatic transmission is dependable and shifts with greater urgency if you tap the button-shifter into Sport mode.
The downside, though, is that some of the more mechanically-minded settings four-wheel drive competitors have are absent. There are modes modes for different off-road conditions, yes, but the Honda lacks locking differentials and dedicated low-range gearing.
I’m of a mind that, for the target audience – and, quite frankly, most pickup drivers were they to buy with their head not their heart – this is more than enough. If your motivation to get a truck is for those occasional times you need to haul something obstinate, the Ridgeline will probably be up to the task. The rest of the time you can drive it as comfortably as you would, yes, a Pilot.
According to the EPA you’ll get 18 mpg in the city, 24 mpg on the highway, or 21 mpg combined. That bests Chevrolet’s Silverado 4WD with the 2.7-liter turbo, and Ford’s F-150 4WD with its 3.5L turbo. My own mixed driving clocked in at nearly 22 mpg.
Inside, the changes are a little less dramatic. There’s new cloth seats on this Sport trim, and new accents on the dashboard, center console, and steering wheel; all Ridgeline versions get new contrast stitching on the seats. Cubbies and bins aplenty ape the bed practicality, including a huge lidded central box and big door pockets. The second row gets plenty of legroom and a useful 2.9 cu-ft box under the bench. Everything feels sturdy and reliable, though that’s not to say it’s uncomfortable or spartan.
The 8-inch Display Audio infotainment system with Apple CarPlay and Android Auto is standard now, and 2023 brings back the physical volume knob and adds a wireless phone charging pad to higher trims. Honda Sensing is standard too, with Collision Mitigation Braking, Road Departure Mitigation, Forward Collision Warnings, and Lane Departure Warnings. You also get a multi-angle reversing camera, lane-keeping assistance, and adaptive cruise control; RTL and above trims have blind spot warnings.
Capture One Pro
Effectiveness: Extremely powerful editing and library management tools
Price: $37/month or $164.52/year. Expensive compared to similar products
Ease of Use: Huge number of tools and controls make UI confusing
Support: Thorough tutorial information available online for new users
Capture One Pro is Phase One’s RAW image editor and workflow manager. It was originally developed specifically for use with Phase One’s extremely expensive medium-format digital camera systems, but has since been expanded to support a much wider range of cameras and lenses. It features a complete range of tools for managing a RAW photography workflow, from tethered capturing to image editing to library management.
The new version offers several new updates, they are primarily improvements on existing features. For the complete list of updates, you can view the release notes here.
No, it isn’t. But there is a 30-day free trial offered for you to evaluate this RAW editor.
There are two options for purchasing Capture One Pro: an outright purchase which costs $320.91 USD for a 3-workstation single-user license, or a subscription plan. The subscription plan is broken down into several single-user payment options: a monthly subscription for $37 USD per month, and a 12-month prepaid subscription for $164.52 USD.
Why Trust Me for This Review
Hi, my name is Thomas Boldt, and I’ve been a photographer for over a decade. I have worked as a professional product photographer in the past, and I am a dedicated photographer in my personal life as well. I’ve been actively writing about photography for the last several years, covering everything from image editing tutorials to equipment reviews. My experience with image editing software started with Photoshop version 5, and has since expanded to cover a wide range of software that covers all skill levels.
I’m always on the lookout for impressive new image editing tools to incorporate into my own personal workflow, and I take the time to explore each new piece of software thoroughly. The opinions I share with you in this review are entirely my own, and I share the same conclusions that I make when considering purchasing editing software for my own photography practice. Phase One has had no editorial input on this review, and I did not receive any special consideration from them in exchange for writing it.
Capture One Pro vs. Adobe Lightroom
Capture One Pro and Adobe Lightroom are both RAW image editors that aim to cover the entire editing workflow, but Lightroom has a somewhat more limited feature set. Both allow for tethered shooting, the process of attaching your camera to your computer and using the computer to control all the camera’s settings from focus to exposure to actually firing the shutter digitally, but Capture One was built from the ground up for such usage and Lightroom has only added it recently.
Capture One also provides better support for localized editing, even going so far as to include a layering system similar to that found in Photoshop. Capture One also provides a number of additional workflow management options such as variant management, where you can easily create virtual copies of an image and compare various editing options, as well as control over the user interface itself in order to create custom workspaces that match your particular requirements and style.
A Closer Review of Capture One Pro
Please note that the screenshots used in this review are from the Windows version of Capture One Pro, and the Mac version will have a slightly different user interface.
Installation & Setup
Installing Capture One Pro was a relatively simple process, although it did also install a number of device drivers to enable the tethered capture feature, including drivers for its own medium-format camera system (despite the fact that I won’t be buying one unless I win the lottery). This was a minor inconvenience, however, and it hasn’t impacted the daily operation of my system in any way.
Once I ran the program, I was presented with a number of options about which licensing version of Capture One I was going to use. If you have a Sony camera you’re in luck, as you can use the Express version of the software for free. Of course, if you’ve shelled out $50,000 for a Phase One or MiyamaLeaf medium-format camera, paying a few hundred dollars for the software is hardly a drop in the bucket – but regardless, those lucky photographers get free access as well.
Since I’m testing the Pro version, I chose that option and then the ‘Try’ option. At this point, I was starting to wonder when I’d be able to actually use the software, but instead I was presented with a more important choice – how much help did I want?
Considering that this is professional-quality software, the amount of tutorial information available was quite refreshing. There were a great number of tutorial videos covering a range of potential use cases, complete with sample images that could be used to test out the various editing features.
Working with Image Libraries
In order to experiment with how Capture One worked, I decided to import a huge batch of my own photos to see how well it handled a fairly large library import.
Processing wasn’t quite as fast as I would have liked, but it was a relatively large import and Capture One was able to handle it all in the background while I used my computer for other tasks without causing any significant performance issues.
Library management features will be quite familiar to anyone who has used Lightroom in the past, providing a range of different options for categorizing and tagging photos. Star ratings can be applied, as well as a variety of colored tags for separating out images according to any system you care to devise. You can also filter libraries by keyword tags or GPS location data, if it’s available.
There’s also a mobile companion app available called Capture Pilot, which allows you to use a number of the tethering functions from your mobile device, acting as a sort of super-powered remote shutter. Unfortunately, I wasn’t able to test this either due to my temporary lack of a camera, but it would be an extremely useful feature for still-life studio photographers who need to be constantly adjusting their scenes.
Image editing is one of Capture One’s star features, and the degree of control it allows is quite impressive. It correctly identified the lens that I had used to take my photos, allowing me to correct for barrel distortion, light falloff (vignetting) and color fringing with a simple slider adjustment.
Exposure controls were a bit overzealous when used with automatic settings, but using automatic settings in a program like this is sort of like putting a Formula One racing engine into a child’s toy car. Suffice to say that the exposure controls were as powerful as you would expect from a professional-quality program, and allow for as much control over exposure as you can accomplish with Photoshop.
Speaking of Photoshop, another of Capture One’s more useful features is the ability to create layered adjustments, similar to what can be done in Photoshop. This is accomplished by creating masks that define the areas to be affected, with each mask on its own layer. The number of image elements that could be controlled in this localized fashion was quite impressive, but the actual masking process could definitely be improved. Painting masks felt slow, and there was a decided delay between passing the cursor over an area and actually seeing the mask update when moving too quickly. Perhaps I’m just too accustomed to Photoshop’s excellent masking tools, but on a computer this powerful, perfect responsiveness should be no issue at all.
The User Interface
There are several unique little user interface features that make working with the program a bit easier, such as the on-location navigator that can be called up when working at various zoom levels by pressing spacebar.
Additionally, it’s possible to completely customize what tools appear where, so you can easily declutter the user interface to match your particular style. The tradeoff for this power seems to be that unless you customize, things are a bit overwhelming at first until you start to get used to them.
Curiously enough, occasionally when I was using the software I would find various elements of the user interface unresponsive. After closing the program and re-opening it during the course of my testing, I found that suddenly all of the previews for my images had disappeared. This didn’t seem to indicate that they needed to be regenerated, but more like Capture One had just forgotten to display them. Nothing I did could induce it to show them, except restarting the program, which is rather odd behavior for expensive professional-level software, especially once it has reached the current version.
Reasons Behind the Ratings
Capture One offers all the capture, editing and organization tools that you would expect from expensive, professional-level software. The image quality it produces is extremely impressive, and the range of tools it has for correction are equally impressive. It’s an extremely effective workflow management tool, and it can be completely customized to match your particular needs.
Capture One is not cheap by any stretch of the imagination. Unless you’re perfectly happy with what’s available in this version, it would probably be most cost-effective to purchase the subscription license, as that keeps your version of the software up-to-date. Of course, if you’re working with the kinds of cameras that the software was originally designed for, price won’t be a primary concern.
Ease of Use: 3.5/5
The learning process for Capture One is pretty complex, and I found myself still having issues with it despite spending hours working with it. That being said, it can be completely customized to match your particular working style, which would likely make it much easier to use – if you can take the time to figure out how best to organize everything. Not all photographers have experience with user interface design, and the default setup could use a bit of streamlining.
Considering how daunting this software can be, Phase One has done a great job of introducing new users to the software. There are plenty of tutorials available, and every tool links to an online knowledge base that explains the functionality. I never felt it was necessary to contact their support staff, but there’s an easy support contact form on the website as well as an active community forum.
Capture One Pro Alternatives
DxO PhotoLab (Windows / Mac)
OpticsPro offers a number of the same features as Capture One, and provides much more support for quick adjustments. However, it doesn’t offer any kind of tethered image capture option, and it has virtually no library management or organizational tools. Still, for every day professional and prosumer use, it’s a much more user-friendly option – and it’s also cheaper for the ELITE Edition. Read our full PhotoLab review for more.
Adobe Lightroom (Windows / Mac)
For many users, Lightroom will provide all the features required for day to day image editing and library management. The latest version of Lightroom CC has also included tethered capture support, which puts it more squarely in competition with Capture One, and it has a very similar set of organizational tools for managing large image libraries. It’s only available as a subscription, but can be licensed along with Photoshop for just $10 USD per month. Read our full Lightroom review for more.
Adobe Photoshop CC (Windows / Mac)
Photoshop CC is the great grandfather of professional image editing applications, and it shows it with how many features it has. Layered and localized editing is its strong suit, and even Phase One admits that it wants Capture One to work alongside Photoshop. While it doesn’t offer tethered capture or organizational tools on its own, it does work well with Lightroom to provide a comparable set of features. Read our full Photoshop review for more.
You can also read these roundup reviews for more options:
Capture One Pro is an impressive piece of software, aimed at the extremely high-end level of professional image editing. For most users, it’s a bit too powerful and finicky for daily usage, but if you’re working with the highest of high-end cameras you’ll be hard-pressed to find a more capable piece of software.
Overall, I found its complex user interface to be a bit off-putting, and the couple of random display issues that I ran into didn’t help my overall opinion of it. While I admire its capabilities, I think it’s more powerful than I really need for my own personal photography work.
Netscape Browser: Is It Still Available In 2023? Find out the latest news about this classic browser
Netscape was one of the first web browsers, and it was a dominant web browser in the ’90s.
The browser lost its popularity over the years, leaving many to wonder if it’s still available.
A good web browser is one of the best ways to keep your PC safe, and to learn more about it.
If you’re interested in web browsers, then you must visit our Browsers Hub for more articles.
Struggling with various browser issues? Try a better option: Opera One
You deserve a better browser! Over 300 million people use Opera One daily, a fully-fledged navigation experience coming with various built-in packages, enhanced resource consumption, and great design.
Here’s what Opera One can do:
Optimize resource usage: Opera One uses your Ram more efficiently than Brave
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Gaming friendly: Opera GX is the first and best browser for gamers
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In the early days of the Internet, Netscape was the most popular browser on the market, but that has since changed.
Is Netscape still available, and what are some of the features that the Netscape browser had? In this article, we’ll try to answer those questions.What is Netscape?
Netscape Communications Corporation, formerly known as Mosaic Communications Corporation, was an American independent computer services company
Its creation, the Netscape web browser, was once dominant but lost to Internet Explorer and other competitors in what was called the first browser war.
To provide a short yet accurate answer, Netscape was discontinued and support for all Netscape browsers and client products was terminated on March 1, 2008.
So, if you were looking for any Netscape browser download links, you better give up now, as this chapter has been closed a long time ago.
While it’s possible to download Netscape from third-party sources, the browser is out of date and vulnerable to malware, so it’s better to use a secure browser such as Opera One.
Regarding your safety, the browser has tracking protection that will block tracking scripts and cookies and make your pages load faster. There’s also a free unlimited VPN available.
The days of Netscape are already over, why not give Opera One a shot?
Free Visit WebsiteWhat should I know about the Netscape browser? Netscape browser history
The first version of Netscape Navigator was released at the end of 1995, and it soon became the most popular web browser on the market.
There were nine major versions of Netscape available, and the latest version was released in October 2007.
During its development, Netscape had a code name Mozilla, and some of its source code was eventually used to create a spin-off browser called Firefox.
Netscape lost most of its market share in 2002 to Internet Explorer, and in March 2008 it was officially discontinued.What were the features of the early Netscape browser?
Netscape was available free of charge for non-commercial use which was unusual at the time, and it’s one of the main reasons why Netscape gained such popularity.
Unlike other browsers at the time that had to download the entire page before displaying it, Netscape showed graphics and text as the website loaded.
This was a revolutionary feature, especially in the era of low Internet speeds and dial-up Internet.
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What is data automation?
Data automation refers to optimizing data uploading and delivery procedures using automation tools that eliminate manual work. The traditional practice required manual labor from the IT department to manage and administer data updates on open data portals. Sometimes the responsibility would fall on the employees in different departments that had to handle the data while carrying on their other duties. The manual process is time-consuming and labor-intensive for enterprises. In addition, manual handling of data is error-prone and can affect strategic business insights derived from the data. Hence, data automation is a vital tool for any enterprise looking to upgrade its data integration to a more efficient level.Do you need data automation in your business?
There are four clues to look for when deciding if you need to automate data automation in your business:What are the approaches to data automation?
ETL is one of the most common data engineering approaches used by data professionals. According to the procedure, the data automation process includes three steps based on the function of the used tools. These three stages are commonly known by the abbreviation of ETL (Extract, Transform, Load). These stages include:Roadmap to Data Automation
Identify problems: Determine where the repetition occurs and prioritize the data sets based on their added value. It is significant to prioritize the datasets that create the most value for the company as they take more manual effort.
Define data ownership within the organization: Determine which teams will handle different stages of the data automation process. There are three main approaches to data access and processing within an organization:
With the centralized approach, the IT team handles the data automation process from A to Z.
In a decentralized method, each agency processes their data, from extracting the data from source systems to loading them to data portals.
There is also a combination of the two methods. The hybrid method allows different departments to work with the IT team. IT teams are responsible for loading the data into data portals through a hybrid approach.
Define the required format for your data transformation: Define the required format for your data transformation. It is crucial to have a set data format policy, to secure data coherence for better insights. Moreover, ETL tools require users to define the preferred formatting of the data categorization.
Schedule updates: Dataset update allows businesses to make better decisions on their operations. Hence, It is crucial to schedule updates for consistent and up-to-date data for datasets.
Determine the right vendors for your operations: Businesses can rely on automation consultants’ expertise to help them identify the best vendor according to the business needs and the business structure.
Explore our ETL tools list if you believe your data integration tasks may benefit from automation.
To gain a more comprehensive overview of workload automation, download our whitepaper on the topic:
Contact us for guidance on the process: If you need more customized recommendations.
Cem regularly speaks at international technology conferences. He graduated from Bogazici University as a computer engineer and holds an MBA from Columbia Business School.
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We rated the Samsung Galaxy S21 Ultra the best camera phone of 2023, and the Galaxy S22 Ultra lives up to those high expectations. But the proof of the pudding is in the eating, so how does the phone stack up against its competition?
For this camera shootout, we’ve pitted the Galaxy S22 Ultra against other 2023 flagship smartphones like the OPPO Find X5 Pro, Apple’s iPhone 13 Pro Max, and the much more affordable but no less excellent Google Pixel 6 Pro. All of these are capable camera phones, but each has its pros and cons. Can the Galaxy S22 Ultra comprehensively best any of them? Let’s find out in this Samsung Galaxy S22 Ultra camera test.
If you want to see the full-res image samples, check out this Google Drive link.
Editor’s note: Since the original publication of this article, Samsung has released the Galaxy S23 Ultra. It replaces the S22 Ultra in early 2023, bringing along a new 200MP primary camera and a host of other improvements.
Galaxy S22 Ultra camera specs compared
Let’s dive right into the general look of images captured from these four high-end smartphones.
The shots above really stress how each phone handles color processing. The OPPO Find X5 Pro leans most heavily on saturation for added pop that looks over the top. Pay attention to the grass greens and blue hues in the sky. Highlights are also slightly clipped on this phone, which is very undesirable.
Apple’s latest iPhone and Google’s Pixel 6 Pro sit at the other end of the spectrum, with more reserved and realistic colors. Although you may have spotted the iPhone pushes the highlights and yellows a little more while the Pixel 6 is slightly darker than the rest. The Galaxy S22 Ultra sits somewhere in between, with a bit more punch but certainly not as over the top as OPPO’s color profile.
Photography terms explained: ISO, aperture, shutter speed, and more
Google Pixel 6 Pro — Colors and white balance are generally very realistic. Some occasional underexposure issues, but not a major complaint.
Samsung Galaxy S22 Ultra — Offers great exposure and white balance in daylight. Colors are a little more saturated than is strictly realistic, but it’s not strong enough to ruin your pictures.
Apple iPhone 13 Pro Max — Has slight problems with exposure and white balance, particularly with bright backgrounds and a slightly yellow tint. Colors are otherwise accurately presented.
OPPO Find X5 Pro — Heavy oversaturation and highlight clipping make this the least accurate phone in this shootout, although the phone’s white balance is otherwise good.
You won’t have a problem with general snaps from any of these phones, as you’d expect from some of the best in the business. But what about trickier HDR shots, where balancing bright highlights with deep shadows is not so straightforward?
Except for the iPhone, our handsets tackle this tricky subject rather well. However, let’s take a closer look at the highlights and shadows to see which phone extracts the most detail from this scene.
The iPhone struggles the most, failing to pick out much detail in the scene’s shadows. Apple’s algorithm seems to prioritize not clipping the clouds, despite me highlighting the darker area as our subject. On the other hand, some shadow stretching in the Find X5 Pro’s shadows produces a washed-out look. That said, the phone picks out more detail than the Galaxy S22 Ultra, which offers an extremely high contrast look that’s not very realistic. Despite the slightly clipped clouds and more saturated look, the Google Pixel 6 Pro balances this tricky HDR scene best.
It’s a similar state of affairs in this second shot. Apple’s iPhone again captures the least amount of color and detail in the shaded parts of the scene. Meanwhile, the Pixel 6 Pro and Find X5 Pro extract the most detail in these areas. However, OPPO’s punchy colors are, once again, a bit over the top. The Galaxy S22 Ultra sits somewhere between, balancing the scene’s highlights against the shadows but, unfortunately, crushing the darkest parts of the shot.
See also: What is computational photography?
Google Pixel 6 Pro — Super potent HDR technology extracts maximum detail from highlights and shadows. It’s not perfect, however, as the Pixel’s HDR technology can overdo it and produce images that lack a little depth.
OPPO Find X5 Pro — Although virtually on par with Google’s technology in terms of HDR balance, the phone’s overzealous color processing takes the shine off the results.
Samsung Galaxy S22 Ultra — Samsung seems to have changed its HDR implementation this year, which now underexposes some parts of the scene, producing an unnatural look in places. It’s an unfortunate backward step for an otherwise capable shooter in challenging scenarios.
Apple iPhone 13 Pro Max — While its pictures look fine, the lack of shadows exposure and occasional highlight clipping indicate that Apple’s HDR technology still lags behind the competition.Detail and macro
Turning to macro photography, the iPhone, Find, and Galaxy handsets all switch to their ultrawide cameras when you move close to a subject. This works well enough but does mean you lose the shallow depth of field effect you may want from a macro shot. Both OPPO and Samsung offer the option to turn this off and shoot from the primary camera if you like, but neither can focus as close up without switching to the ultrawide.
All these results look very good for macro shots. However, the Find X5 Pro struggled the most with focus even when moving slightly further back, which is disappointing. Overall, Samsung’s image comes off best here, capturing plenty of detail, color, and white balance. The iPhone is a bit too yellow, again.
Unfortunately, the Google Pixel 6 Pro has a fixed-focus ultrawide camera, making it unsuitable for macro photography. The main camera won’t focus at this distance either, meaning you’ll have to take a step back and use the zoom camera. That has changed with the latest Pixel 7 Pro, which offers autofocus on the ultrawide camera. Fortunately, Google’s zoom technology hands in results that are every bit as competitive as the ultrawide cameras used by the other phones.
But let’s see what the main cameras can do.
In good daylight, color balance is a more significant differentiator than detail. The iPhone’s image is slightly soft, and shadow details are slightly less pristine than the other three. The Find X5 Pro is a little heavier on the sharpening pass than the competition, which we can see in the slight haloing around the tree branches and aliasing on the flag pole.
All these results look very good for macro shots.
The Pixel 6 Pro and Galaxy S22 Ultra are surprisingly close, but each has its intricacies. The Pixel has Google’s better HDR algorithm and therefore captures more detail in the highlights, but details look a little oversharpened. The S22 Ultra has a few blurry spots and the tree branches seem more artificially sharpened.
This next look at detail takes place in less ideal overcast lighting conditions. Again, each phone’s color balance and exposure are more obviously different than any noticeable detail issue.
Cropping in, there’s not a massive amount between any of them even when peering into the shadows under the bridge. Again, Google’s Pixel 6 looks a little artificial thanks to a detail sharpening pass, as does the OPPO Find X5 Pro. Meanwhile, the iPhone is softer yet still seems to rely on denoise and sharpening to polish its images, which makes the brickwork look flatter than on other phones. The Galaxy S22 Ultra would nudge it here for the most realistic look. However, there are some weird sharpening artifacts in the green tree and more noise than the competition. Overall, it’s tough to pick out any of these phones as clearly superior to the others, at least in daylight.
Samsung Galaxy S22 Ultra — It’s certainly not perfect, as it’s noisier in low light and has a clear sharpening pass that’s noticeable on complex textures like trees. Still, the phone is very consistent and hands in reasonably realistic details for landscapes and macro shots.
Google Pixel 6 Pro — Occasionally oversharp details aren’t great to crop in on but generally it holds up very well. Sadly the phone can’t do macro photography without using the zoom camera.
OPPO Find X5 Pro — Heavier dose of sharpening than the competition and the camera can struggle to focus on macro shots. Otherwise, there are no apparent issues, and it’s very tight among the top three.
Apple iPhone 13 Pro Max — Details can be pretty soft, and reliance on post-processing in lower light leaves complex textures too blurred. Macro shots look great, though.
Lower lighting conditions have historically separated the good from the best, but with each of today’s competitors packing a good-sized primary sensor and a wide aperture for light capture, the battle could be closer than ever.
Our phones perform surprisingly OK without night mode, except the Find X5 Pro, which struggles with detail and color. The Pixel 6 seems to capture less light than the iPhone and Galaxy handsets due to its narrower aperture. The iPhone’s exposure is surprisingly good given its smaller sensor, but its colors are washed out. Again, we see a slight over warming with the Galaxy S22 Ultra, but otherwise, it’s the most accurate given the very dark conditions.
The iPhone didn’t want a long night exposure for any of these shots, but the ultrawide lens would have benefited. Its comparatively tiny 1/3.4-inch sensor doesn’t capture anywhere near as much light as the Find X5 Pro’s big ultrawide sensor, which performs nearly as well as the primary camera. However, the colors are a little washed out. OPPO’s 3x zoom shot is a little too dark. The iPhone’s zoom image is comparatively brighter but also oversharp and more heavily processed from the use of night mode. Both are reasonable efforts, but there are some small compromises here.
Samsung Galaxy S22 Ultra — Has some issues with red tint but otherwise performs acceptably in low light even without the aid of night mode. Samsung’s night mode works well across all its cameras, even though it doesn’t always produce the brightest exposure.
Google Pixel 6 Pro — The camera doesn’t perform as well without night mode, resulting in low-light noise. Google’s Night Sight is extremely powerful and produces the best exposure here. However, the technology can leave pictures looking blurry and heavily processed, especially when zooming in.
OPPO Find X5 Pro — The phone is entirely reliant on night mode, which takes a couple of seconds to capture. Even then, the phone struggles with white balance. Still, it hands in good-looking low-light snaps from its ultrawide and telephoto cameras.
Apple iPhone 13 Pro Max — Can struggle without night mode, as the camera is a little noisy, but its results can look oversharp when enabled. The ultrawide lens is too dark to use in low light, making it marginally weaker than its competitors.
Related: The complete guide to ultrawide camera phones
OPPO Find X5 Pro — OPPO doesn’t offer the widest lens here, but it handles tough shooting conditions better than the rest and controls lens distortion. You’ll have to live with the phone’s saturated colors, though.
Apple iPhone 13 Pro Max — Apple offers a really good ultrawide setup here with a very wide field of view and minimal lens distortion. However, the small image sensor exposes the phone’s so-so HDR capabilities.
Samsung Galaxy S22 Ultra — It’s close within the top three, but Samsung’s ultrawide snapper suffers from marginally more edge distortion than the iPhone and Find X5 Pro.
Google Pixel 6 Pro — With the narrowest field of view, fixed focus, and most noticeable signs of edge distortion and noise, the Pixel’s ultrawide camera is a class below today’s competitors.Zooming in
With 2x, 3x, 4x, and 10x camera hardware available across the phones, we should see an interesting mix of capabilities play out here. We’ll start with a closer range shot.
Thanks to their native telephoto cameras, the iPhone 13 Pro Max and Galaxy S22 Ultra are the cleanest at 3x. Details are sharp and focused, while color balance and exposure are also reasonably good, glossing over the iPhone’s continuous yellow hues, of course.
The Pixel 6 Pro’s super-resolution camera zoom technology is competitive here, but the software solution comes off a little harsher and oversharp compared to optical zoom. Its white balance is also too warm in this shot. The OPPO Find X5 Pro doesn’t quite find the right color balance either, and its details are a little soft. Its small 2x telephoto zoom is still perfectly serviceable at 3x, but it already looks like OPPO’s lack of long-range optics will hurt it here.
It’s crystal clear who the winners are at 10x. The iPhone 13 Pro Max and Find X5 Pro are well past the point of use for this shot — their digital upscaling leaves very little detail in the image. The Galaxy S22 Ultra’s 10x periscope camera wins here with excellent detail and colors. Google’s super-res algorithms are really not far behind, though. There’s a very competitive level of detail, albeit slightly oversharpened, but the more muted colors give away the lack of optical zoom hardware. Still, the Pixel 6 Pro punches well above its hardware specs and outperforms everyone except the S22 Ultra at long range.
Samsung Galaxy S22 Ultra — Whether you’re zooming near or far, the Galaxy S22 Ultra hands in consistent and good-looking results up to about 30x. Its software zoom isn’t always perfect but has improved this generation.
Google Pixel 6 Pro — Comes in hot on the heels of the S22 Ultra despite only offering a single zoom camera. Google’s super-res zoom algorithm punches above its weight but even the best software zoom is still not quite as clean as optical.
Apple iPhone 13 Pro Max — The 3x telephoto camera holds up well to above 5x, which is good but not entirely comprehensive.
OPPO Find X5 Pro — With the weakest zoom hardware of the group, OPPO’s camera was always going to struggle to compete. It’s fine for short distances but isn’t much use beyond 4x.Portrait and selfies
I grabbed a quick snap of a statue using portrait mode. Each of the cameras offers a slightly different crop factor when shooting in portrait mode, with the iPhone being the most stubborn in preventing you from changing it. So matching the frames exactly isn’t possible here.
Despite the tree branches that snuck their way into the foreground, all four cameras handle the background bokeh well here. However, the Find X5 Pro can’t quite decide which branches should be blurred and which shouldn’t, while the other phones are more decisive. You’ll probably have spotted that the Pixel 6 Pro looks a little sharper than the rest. Disappointingly, everything you shoot with the Pixel 6 Pro’s portrait mode looks too heavily processed, whether it’s the stone statue or skin textures. I think the iPhone and Galaxy are the marginally better portrait shooters here.
Now for some selfies.
Shooting in the shadows is trickier for these cameras. The Pixel 6 Pro doesn’t blur the gap between my hair and headphones on the left. It’s also really punched up the green of the grass and made my face a little too orange. It’s a fine but not brilliant selfie. Apple has a similar issue with slightly too much saturation on the grass and it doesn’t quite handle the HDR backdrop as well. But it’s hard to argue with Apple’s skin textures — they’re very good.
Overall, Samsung’s Galaxy S22 Ultra is the best here, balancing skin tones and texture against the bright backdrop very well. Unfortunately, OPPO’s bokeh effect completely blows out the background highlights. It appears that the phone can’t do bokeh and HDR processing simultaneously. That’s a shame because otherwise, its skin tone and subject exposure put it among the best selfie camera phones on the market.
There are some clear winners and losers when it comes to low-light selfies. The iPhone is the worst, handing in a very noisy shot that fails to expose my face correctly. The Find X5 Pro is notably better, but there’s a lot of noise and a somewhat unflattering white balance. Google’s selfie camera and night mode come to the rescue, handing in solid exposure and colors even though the selfie is still too blurry. This leaves the Galaxy S22 Ultra as the best of the bunch by quite a margin, even though it too is a little soft. Still, Samsung nails the proper exposure, colors, bokeh, and skin hue to produce a usable selfie in some pretty difficult conditions.
Portrait and selfie rankings:
Samsung Galaxy S22 Ultra — Not always the very best but takes first place for consistency. Solid portraits, smooth bokeh, and selfies that look good whether you’re in bright daylight, a backlit environment, or in low light.
Google Pixel 6 Pro — Edges into second place for the low-light selfie but the Pixel’s skin textures don’t always look great on close inspection. Still, the phone performed better than the iPhone in both bokeh accuracy and low-light performance, making it a more consistent if not always better shooter.
Apple iPhone 13 Pro Max — Portraits and selfies are Apple’s specialty and the phone provides solid skin tones and textures. Just don’t try to use the selfie camera in low light as it’s really awful.
OPPO Find X5 Pro — Last place feels harsh on OPPO’s flagship as its portraits and selfies are very good. However, the phone’s bokeh effect isn’t quite up to scratch and neither is the selfie camera’s low-light capabilities. That’s disappointing given the fuss OPPO made about its RGBW selfie image sensor.
Samsung Galaxy S22 Ultra camera shootout: The verdict
Robert Triggs / Android Authority
Overall, we have four excellent camera phones here, but it would be a cop-out not to crown a victor. There’s no out and out winner of every category in this shootout but totaling up the scores gives us two phones that rank consistently near the top — the Samsung Galaxy S22 Ultra and Google Pixel 6 Pro. Neither is the perfect all-around package, but if you’re looking for the most consistent and versatile shooter, Samsung’s latest flagship earns our recommendation. Its color balance, low-light shooting, selfie, and zoom capabilities are all very good to excellent.
The Galaxy S22 Ultra may be the marginally better shooter, but the Pixel 6 Pro is the better bargain.
However, the Google Pixel 6 Pro is hot on its heels, especially in the zoom department, and actually edges out the S22 Ultra in this shootout’s HDR scenarios. Most importantly, it performs almost as well while retailing for a fraction of the price — just $899 versus the Ultra’s $1,200 tag. That’s a considerable saving and almost certainly makes Google’s flagship the better buy for all but the pickiest of mobile photographers.
Editor’s note: The Pixel 6 Pro has been replaced by the Pixel 7 Pro since the publication of this article.
Oppo’s Find X5 Pro puts in a solid performance and would have done a lot better if not for a couple of persistent problems, namely, the overzealous color pallet and lack of a decent quality zoom. The former could be fixed in a software update, but at this price, the phone really should be more competitive at a distance. I’m yearning for the return of OPPO’s periscope camera.
This leaves us with Apple’s iPhone 13 Pro, a fair camera phone but one I feel is a bit overrated these days. Its HDR and zoom capabilities are a little off the pace, and the camera’s consistent yellow tint is an annoying bugbear that Apple seems in no hurry to address. That said, it’s still an excellent phone for portrait lovers or night owls who avoid selfies, and it has one of the better ultrawide cameras on the market right now.Which phone takes the best pictures overall?
I’m sure each of these phones will find their fans for their given strengths and weaknesses. But if you’re after a robust shooter that will seldom let you down, spring for the Samsung Galaxy S22 Ultra. If you’re on a tighter budget, you can’t go wrong with the inexpensive Google Pixel 6 Pro.
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