Nikon Z7 Camera Short Review and the price 2019

The Nikon Z7 is the corporation's most up-to-date camera to date: it's as well ventilated would and appropriate for movie capture as it is for stills, along with the standard of both is striking. The Z7's design provides an adventure that will be familiar to existing Nikon DSLR shooters, but at a smaller, lighter body, constructed round the all-new Nikon Z-mount.

That is Nikon's first full-frame mirrorless camerausing a 4K-capable machine which features a variant of the D850's 46MP BSI CMOS sensor, but with the accession of on-sensor phase detection AF pixels and mechanical stabilization. In our testing the sole area where the Z7 comes up a little short is autofocus reliability and usability - something where Nikon's DSLRs have excelled.

Nikon Z7 specification Key features:
45.7MP full-frame BSI-CMOS sensor with on-sensor phase detection
In-body 5-axis image stabilization (rated to 5EV)
493 PDAF points with 90% horizontal and vertical coverage of the frame
ISO 64-25,600 (expandable to 102,400)
Up to 9 fps shooting (JPEG and 12-bit Raw)
3.69M-dot OLED viewfinder
2.1M-dot tilting touch LCD
OLED top plate display
Single XQD card slot
UHD 4K capture up to 30p
10-bit 4:2:2 N-Log output over HDMI
Up to 100Mbps H.264 8-bit internal video capture
SnapBridge Wi-Fi system with Bluetooth, including to-PC transfer

Nikon Z7 price body only
The Nikon Z7 is available today for a body-only price of $3400. It is also available kitted with the 24-70mm F4 S lens for $4000 (many retailers are providing additional kits with the'F to Z port' for about $150 more).

A large part of the story of the camera is how similar the Z7 is into the D850. Naturally thoughthere are significant regions where the two disagree. Nikon has said that a good deal of work went into creating the Z7 familiar to existing Nikon users, however the company has also been occupied with little refinements beneath the surface.

This is a much shallower, much broader mount than the older F-mount, the dimensions of which have been laid down from the 1950s. The Z7's short, 16mm flange-back space between the mount and the sensor usually means that virtually any lens needs to be accommodated onto the camera.

Meanwhile, the mix of the short depth and a 55mm mount diameter (25% wider than the present F-mount) provides the designers plenty of space to direct light to the corners of their detectors without being constrained by the bracket's throat. Nikon claims that this will allow it to make lenses with apertures as broad as F0.95 and, indeed, it's already working on one.

Nikon also released an F-to-Z mount adapter that permits the use of F-mount lenses to the new cameras. This has a mechanical tether lever built in, allowing full utilization of AF-S along with AF-I lenses. Older AF-D lenses may offer automobile exposure (but no autofocus) and AI lenses will have complete metering. There's no aperture tab for use with'AI' or old lenses, though, or so the camera won't record an aperture value. On the other hand, elderly pre-Ai lenses will mount perfectly well and operate in stopped-down aperture manner.

Regrettably Nikon states that it won't be discussing the technical aspects of the mount with third-parties, preferring for now (such as Canon) to shield revenue of its own lenses. Therefore, unlike Micro Four Thirds and Sony E-Mount, third party manufacturers might need to reverse-engineer the mount.

New sensor
Behind the mount is a new,"Nikon designed" BSI CMOS detector. It's clearly closely related to the chip in the D850, which appeared to incorporate a mix of Nikon and Sony-developed technologies. The vital thing is that the processor still supplies a complete ISO 64 manner but today advantages on-sensor phase detection animations. The only drawback is the 493 AF points lead to some very slight sensor striping/banding, which restricts usable dynamic selection.

Nikon states that the on-sensor AF process is graded to -1EV with an F2 lens attached. This puts it well behind its own full-frame DSLRs and almost all of its mirrorless peers. Our testing does indeed confirm the AF system begins to search markedly around 0 or -1EV when shooting AF-S, and becoming worse if you stop the lens .

The Z7 can encourage continuous shooting at up to 5.5 frames per second if you need updated live view between shots, though that live view experience is less than ideal. This mode enables complete autofocus but locks the exposure settings after taking the initial image. High+ shoots at 8 fps at 14-bit Raw or 9fps if you drop to 12-bit style.

It may shoot just 25 fine high quality JPEGs, 23 12-bit Raws or even 18 14-bit Raws at its top burst speed. The usage of rapid XQD media signifies the buffer clears reasonably quickly but you'll certainly notice when you hit its limit and also the shooting speed drops dramatically. By comparison, the D850 is able to write to a XQD card almost as quickly as photos have been shot, providing an almost infinite buffer depth.

Innovation - The thing that impresses me most about Leica

It might sound odd to talk about the innovations of a company whose best-known product is anachronistic to this stage you've to take the baseplate away to change the film memory card, but I'm serious. I understand I'm supposed to be impressed by the corporation's history, its (rather obsolete ) utilize as a press camera and the leading reputation of its lenses. But I am not, especially.

It's not that the lenses are not great. It's just that I am not terribly impressed a organization's capacity to make single focal length, manual focus lenses good when money's basically no thing and you can independently correct every one in the event that you must. My experience of working as an engineering journalist constantly reminds me that it's many times harder to create a kit zoom that has to provide good performance at multiple focal lengths, provides quick autofocus for both stills and movie, includes picture stabilization and can be made with a degree of consistency to get something like $35.

But while I'm not so fussed about all that'red dot' business, I really like that Leica does not only have crazy ideas, but it transforms them into workable, purchasable goods. Even if they are not always the most affordable ones.

The Bayer color filter array is wonderful. It allows spectrally-indifferent detectors perceive color and does so with a fantastic level of resolution and quite few drawbacks. Except that it steals about a halt of light.So why not make a mono-only camera? None of the softness and noise that comes from demosaicing, and much better, cleaner image capture since you are not allowing a string of color filters absorb half your own light. That's a wonderful idea, why would not someone do this?

Nicely, Leica has, together with the Monochrom series of cameras. They do just what you'd expect: create super-detailed mono images.

Needless to say, provided that you've only one'colour' channel, it becomes more important than ever to avoid clipping, so I wish there was monochrome camera which didn't meter by taking a look at the light reflected off the stripes painted on its shutter blades. Additionally, since it would need to be another camera for me, I'd prefer it to charge under a little car. But I have to applaud Leica for doing this, instead of simply thinking about it.

What's the opposite of Iconoclasticism?
Again, who'd have thought it would be Leica: a camera brand which added an artificial winder lever onto its latest camera, that would design one of the most advanced user interfaces of the previous decade?

Love it or loathe it, the most icon-led touchscreen interface of the Leica T series is one of those few real attempts we've seen to fully re-think how you should interact using a camera and its preferences. The person I have met who participates it is also one of the few that I know who owns a digital Leica rangefinder (although could be because the very first iteration had any intriguing quirks). Personally, however , I thought the design struck a great balance between command dials that controlled the key exposure parameters while still letting you tap and swipe the settings, just as you are on a smartphone. Certainly an ambitious thing to get a'traditional' camera company to do.

Settings? There's an app for that
On the topic of smartphones, it has long been suggested that they might provide a way to solve the uncontrolled menu sprawl that is overpowering even the best-designed contemporary UI. Connecting cameras to smartphones over Bluetooth and Wi-Fi is ever more easy and more commonplace, in the same way the complexity of menu choices becomes unbearable, so why not pass-off obligation for configurations to the phone?

And, if looked at from a specific angle, that's what Leica's M10-D really does. I am not always convinced that it made sense to keep moving and take the whole LCD display away but shoving set-and-forget preferences off into a smartphone app I could get behind. A program can offer a more straightforward interface with better guides and instructions, meaning the on-camera interface may be stripped right back to focus on the primary shooting parameters. But perhaps leave me a display, eh, Leica?

Price of iPad Pro, Apple Pencil, MacBook Air and Mac Mini

A few months ago, Apple announced updated MacBook Air, iPad Professional, Mac Mini, and Apple Pencil models in Its Occasion in Brooklyn, New York.. Both the iPad Pro and also the MacBook Air received considerable design changes, including the inclusion of Touch ID into the hottest MacBook Air version and a removal of the house button in the brand new 11" along with 12.9" iPad Experts.

The 2018 iPad Pro swaps Touch ID to get Face ID, the face-scanning safety technology first introduced with all the iPhone X. The two 11" and also 12.9" 2018 iPad Pro models include an all-screen design with Liquid Retina displays, rounded corners, flat borders, and also a 5.9mm thickness, making them both the thinnest iPads to date.

The brand new iPad Pro includes Apple's A12X Bionic chip with four performance cores and four efficiency cores, as well as a new performance controller that Apple says allows all eight cores to be used at the same time. This is combined by Apple's very own seven center GPU, which the company claims supplies"console-quality images"

Apple is supplying the newest 2018 iPad Pro tablets in space gray and silver with 64GB, 256GB, 512GB, along with 1TB configurations; equally WiFi-only and WiFi+mobile choices are readily available. Prices start at $799 USD for its 11" version and $999 USD for the 12.9" version.

Both new iPad Pro tablet computers are combined by an updated Apple Pencil, the stylus that originally started as an iPad Pro exclusive. The brand new Pencil model charges and attaches magnetically to the iPad Guru's edge. This gets rid of the highly commended Lightning connector found on the base of the initial Apple Pencil. The updated model likewise packs a touch sensor that could detect taps, and Apple describes as a brand new approach to socialize with apps.

Joining the new iPad Professional versions is the fabled MacBook Air update, which provides Touch ID into the Apple laptop, in addition to a 13" Retina display, faster SSD alternatives, a Force Touch trackpad, an Apple T2 Safety Processor, and Thunderbolt 3, plus wide stereo audio. Other features include a FaceTime HD camera, the capability to show 48 percent more color than the preceding Air generation, an 8th-generation Intel Core i5 processor and Intel UHD Graphics, up to 13 hours of battery life, plus a fresh"wedge-shaped" layout. Apple is supplying the 2018 MacBook Air beginning at $1,199 USD.

Assessing the MacBook Air is a new Mac Mini with quad core and six-core chip optionsup to 64GB of RAM, the Apple T2 Safety Chip, Thunderbolt 3 ports, and also what Apple says is five times faster performance compared to the prior version. The updated model boasts 10Gb Ethernet, all-flash storage capacities up to 2TB, HEVC movie transcoding up to 30 times quicker than previously, and an enclosure that has the identical size as the preceding model.

Apple states it used entirely recycled aluminum for the enclosure and increased its usage of post-consumer recycled vinyl for parts. The company claims both of these things combined decrease the Mac Mini's carbon footprint by almost 50 percent. The 2018 Mac Mini can be obtained from Apple currently beginning at $799 USD.

OnePlus 6T comes with new Nightscape and Studio Lighting modes

OnePlus declared the OnePlus 6T, its newest high-end Android device, at an event in New York City today. On paper the 6T camera hardware looks like the OnePlus 6 that was launched earlier this season. However, the new version comes with a few developments in the imaging program.

The 6T's dual-camera includes a 16Mp main camera which uses a 1/2.55″ detector along with F1.7 aperture. The 20Mp secondary camera offers exactly the same 25mm equivalent focal length because the primary but includes a smaller 1/2.8″ detector and a non-stabilized F1.7 lens. The camera focuses using a PDAF program.

Like on the OnePlus 6, the device employs the approximate high time detector for maximizing noise and dynamic variety, high-quality digital zoom plus a simulated bokeh effect.

In terms of software includes a new Nightscape mode promises night shots with better detail, reduced noise levels, better color rendering and a wider dynamic range compared to the default capturing mode.

The Studio Lighting feature appears very similar to Apple's Portrait Lighting and contrasts brightness and tonality on faces to mimic similar consequences you could achieve with specialist lighting equipment. Moreover OnePlus says bokeh and HDR modes are improved over the versions found in the 6.

In movie mode the OnePlus 6T is capable of recording 4K footage in 60 frames per second. At Super Slow Motion mode you may shoot 1080p movie in 240fps or 720p/480fps.

Non-camera specs are worthy of a high-end smartphone too. The Android OS is powered with an Qualcomm Snapdragon 845 chipset and up to 8GB of RAM. Based on OnePlus the 3,700mAh battery provides a 20 percent better battery life compared to OnePlus 6 and a brand new on-screen fingerprint reader is on board also. The 6.41-inch AMOLED screen has a 19.5:9 aspect ratio plus 2340 x 1080 resolution.

The OnePlus 6T already available in November 1, starting at $549.

OnePlus 6T Specifications:
Dual-camera
Main camera with 16Mp Sony IMX 519 1/2.55″ sensor with 1.22 μm pixels, F1.7 aperture, OIS
Secondary camera with 20Mp Sony IMX 376K 1/2.8″ sensor with 1.0 μm pixels, F2.0 aperture
25mm equivalent focal length
PDAF
Dual-LED flash
4K video at 30/60fps
16Mp front camera with F2.0 aperture

Nikon Coolpix P1000 Camera Short Review 2019

Four decades ago, the typical superzoom'bridge' camera needed a zoom power of around 50x. Over the years the number has slowly improved before leveling out in 65x. And then came the Nikon Coolpix P900, whose 83x, 24-2000mm equiv. Lens suddenly took zoom ranges from'quite long' into'foolish'.

Nikon's new Coolpix P1000 has moved the needle to'foolish,' having an equivalent focal length of 24-3000mm. That's correct, 3000mm. This is a lens so long we were able to fill the frame with a 1 meter (3.3 ft ) tall fighter that has 70 meters (230 feet) away.

This can come at a price, however. To begin with, the P1000 is huge and its lens has been challenged by a slow maximum aperture (and so diffraction) and picture quality can be jeopardized by the identical thermal and atmospheric issues that are standard of images shot at extreme distances using almost any ultra telephoto lens. Besides the lens, the P1000 includes a 16MP 1/2.3" BSI-CMOS detector, a fully articulating LCD and also high-res EVF, Raw support along with the ability to capture 4K video.

Nikon Coolpix P1000 technical specs :
16MP, 1/2.3" BSI-CMOS sensor
24-3000mm equiv. F2.8-8 lens
'Dual Detect' optical image stabilization
3.2", 921k-dot fully articulating LCD
2.36M-dot OLED electronic viewfinder with eye sensor
Raw support
UHD 4K/30p video capture
Microphone input
Hot shoe
Wi-Fi + Bluetooth (SnapBridge)
250 shots per charge (CIPA standard)

The P1000 includes a spec sheet nearly as long as its lens. From Raw support to some high-res EVF, the camera includes just about everything you would want in a bridge camera, then save to get decent battery life and a touchscreen (a glaring omission). Image stabilization is a necessity for superzoom cameras, and Nikon's'Dual Detect VR' reduces shake by up to 5 stops (based on focal length,) according to Nikon. Being 2018, it is no surprise that Wi-FI and Bluetooth will also be onboard.

Let's get right to the point: that the biggest selling point of this Nikon Coolpix P1000 is its 24-3000mm equivalent F2.8-8 lens. That sort of range is, in nearly most situations, far more than required. In actuality, It's sometimes difficult to find something that far away to take a picture of. Only at 1.4kg (3.2lbs), it is not the sort of camera you want to take around daily. However, having that range is part of their allure of the camera: it is just enjoyable to use.

Key takeaways:

The 24-3000mm equivalent lens on the P1000 provides, by far, more reach than any camera on the market. It has has a minimum focus distance of 1cm (0.4") at wide-angle and 7m (23ft) at telephoto.
The long lens has trade-offs, including size, weight and a slow maximum aperture near its telephoto end.
The 1/2.3" sensor on the P1000 is much smaller than the 1" sensors on other enthusiast long zooms.
Dedicated Moon and Bird modes address the two biggest use cases for the P1000.
Battery life is the lowest of any camera in the enthusiast long zoom class.

Moon mode
Two regions that Nikon has emphasized in its advertising of the P1000 is bird and lunar photography. In reality, they have dedicated shooting modes for each of these use cases.

Moon style provides quite a few features not found in other shooting modes. First, the camera sets the focus distance to infinity and activates the 3 next self-timer. Guidelines shown about the LCD/EVF outline the section of the frame covered by the lens in 1000mm (that is elastic ). Pressing the'OK' button will instantly zoom into that particular focal length (it is possible to continue to zoom in case you would like). An choice to change the colour of the picture is also near at hand.

Note that you cannot shoot in skies mode, though you are able to take amazing photos of the moon at the shooting modes which do offer this feature.

Body and controls
At this point in the review we've established the Coolpix P1000 is really a big, thick and bulky camera. It's the largest superzoom camera ever produced and is very close in size to the massive DSLR (using a lens attached).The center of gravity is simply beneath the flash (if you sliced the camera ) till 700mm roughly, and after that it shifts dramatically toward front. As a result of this you will need a robust tripod to keep the cam from'dipping' downward. We would have believed that Nikon could put a tripod bracket beneath the lens or provide a tripod - but they don't.

Happily, the clasp is the perfect dimensions, at least for larger hands, along with the controller dial around the lens can be used to encourage your camera, provided that you anticipate its lurch forward. You do need to have a solid grip on the camera at long focal lengths, so as the smallest moves will influence makeup, even with the image stabilization trying its finest. While the zoom lever, primary dial on the top plate and Fn button are easy to reach, the secondary dial to the rear of the camera is not.

Build standard in the body itself is quite good, though some of these dials and the zoom lever feel cheap. It's a shame the P1000 is not weather-sealed given its cost, though the only models in this class that are sealed would be the more expensive Sony RX10 III and IV.

The layout of the controls is typical of a camera that is secondhand, using four buttons surrounding a 4-way controller with a control wheel around it. While the dimensions of these buttons are nice, the controller wheel is a bit too small for such a massive camera. Naturally, there is a dedicated movie record button together with an AE/AF-Lock button (using AF/MF switch around it) along with a button for switching between the LCD and EVF.

Viewfinder and LCD
The specs of this electronic viewfinder are very similar to almost every modern superior superzoom: it is a good-sized EVF it utilizes an OLED panel using 2.4 million dots along with undisclosed magnification that is similar to the size of the socket about the Sony RX10 III. An eye sensor, which was not contained in the P900, switches between both LCD and EVF automatically.

The LCD is 3.2" in size (somewhat bigger than average) with a resolution of 921k-dots. Frustratingly the display is not touch-enabled, making selecting a focal point and reviewing photographs that more of a job. The display is fully articulating making it well suited for tripod work, movie and vlogging.

The essential Pro Feature that no Mirrorless Camera Offers

In a low-light situation with a split-second to focus and capture the moment, the flashgun's AF illuminator was essential. Mirrorless cameras usually do not offer you this feature and also their AF systems aren't so great in low light that they don't need it.

Mirrorless cameras have captured up with DSLRs in virtually every measurable respect, however there's still 1 feature that's critical for some professionals that each one of these lacks: flash AF lighting.

Wedding and event photographers in particular will recognize that the benefit of the AF assist goal proposed by flashguns plus a few flash commander units, yet no mirrorless camera manufacturer implements this attribute, even on their highest-end versions. There are some technical reasons why they omit this attribute, but that doesn't negate the need to it.

It won't impact everyone's day-to-day photography, however, the near-universal failure to offer you some sort of flash AF illuminator target for mirrorless cameras stays a major shortcoming and means mirrorless can not compete with the top DSLRs in some shooting conditions.

You will find specialized justifications for why they do not: DSLR autofocus sensors can be sensitive to ultraviolet light mild, whereas mirrorless cameras are not. Since mirrorless cameras concentrate using their principal imaging sensor, any IR has to be filtered-out to prevent skewing the colors within your images. However, the AF illuminators on flashguns are not only emitting infra-red: they also emit lots of visible red light, otherwise you wouldn't be able to observe the telltale red grid that they endeavor.

Another drawback is that phase-detection pixels reside behind the colored filters which allow most cameras to interpret colour into the scene, so may not even see any red light. A PDAF part behind a blue filter will not see any red light plus one behind a green filter is only going to find a very small volume. But this should not be insurmountable: Canon's Double Pixel AF means every pixel (such as the red-sensitive ones) is a PDAF pixel and, when it came down to this the manufacturers could offer versions of the flashguns that exude a color that their mirrorless AF systems may see.

Most mirrorless cameras possess their very own built-in AF illuminators but they're not quite as successful as the off-board lamps on flashguns. In addition, they tend to be bright, uniform orange or green lamps which are visually distracting, readily blocked by palms or huge lenses and that overlook a few of the essential attributes of off-board illuminators: a grid pattern. This grid layout effectively generates a few hard-edges for the AF system to snack on, even if you're shooting something that might not have sufficient inherent contrast to easily focus on. You know, just like a white wedding gown in reduced light.

If mirrorless cameras will revive DSLRs for wedding and event photography, producers will need to discover a way, even if it involves selling (or modifying) flash components that emit a faint green or blue grid pattern. Or doing exactly what Godox does with its X1T control units: firing its red target, just as it might for DSLRs, because in many situations this is far better than nothing.

New Sony sensor specs resemble chips found Other Camera’s

Sony has updated its sensor page and shared the details of lots of new image detectors it's created. Sure enough, a few of them bear a striking resemblance to sensors inside other manufacturers .

One detector in particular, that a 26-megapixel backside-illuminated (BSI) APS-C chip with merchandise code IMX571, bears an uncanny similarity to the detector utilized indoors Fujifilm's X-T3 camera. While Fujifilm has not verified it has a Sony sensor in the X-T3, General Manager of Fujifilm UK, Theo Georgiades, did state it wasn't a Samsung sensor used within the camera, as some thought to be the case, leaving no doubt that it was Sony who fabricated the sensor. The specs listed below this picture sensor on Sony's website all but affirm that speculation.

Additionally, it is worth noting that there's a great chance we will see Sony build something about this sensor also. Even the a6300 along with a6500 both probably use the identical sensor as Fujifilm's X-T2, therefore it's not a stretch to imagine Sony will soon be releasing one or two A6000-series cameras employing the 26-megapixel BSI picture sensor found within the X-T3.

The BSI IMX461 detector was in the works for quite a lengthy time and according to Fujifilm's statement that it is currently creating a 100-megapixel medium format camera, it is likely this is the detector that is going to be inside of it. The sensor has 3.76 micron pixels and has a maximum frame-rate of up to six frames each second.

The IMX299 is a bit more difficult to hit on the head, but based on it being 11-megapixls, having 4.63 micron pixels, along with also a 60 frames per second readout, it's almost surely the sensor found within the Panasonic GH5S.

This 20-megapixel Four Thirds-type sensor has 3.3 micron pixels and a maximum readout of 60 frames per second. This has been supported by TechInsights to function as sensor inside the Panasonic GH5.

How Google developed the Pixel 3’s Super Res Zoom technology

In a blog post on Its Own Google AI Blog, Google Software Engineer Bartlomiej Wronski and Computational Imaging Lead Scientist Peyman Milanfar have laid out how they Established the Newest Super Res Zoom technology Within the Pixel 3 and Pixel 3 XL. Over the last year or so, many smartphone manufacturers have added multiple cameras for their telephones with 2x or even 3x optical zoom lenses. Google, however, has taken a different path, deciding instead to stay with a single principal camera in its new Pixel 3 models along with implementing a new feature it is calling Super Res Zoom.

Unlike conventional digital zoom, Super Res Zoom technology is not only upscaling a crop from a single image. Rather, the technology combines many marginally counter frames to make a higher resolution image.

Compared to the normal demosaicing pipeline that needs to interpolate missing colors because of the Bayer color filter array (shirt ), openings can be full of shifting several images one pixel horizontally or vertically. Some committed cameras implement this by shifting the sensor in 1 pixel , however, the Pixel 3 will it cleverly by essentially locating the right alignment in software after amassing multiple, randomly altered samples. Illustration: Google

Even the Google engineers are using the photographer's hand motion - and the consequent motion between individual frames of a burst - for their advantage. After optical augmentation eliminates macro movements (5-20 pixels), the residual high frequency movement due to hand tremor naturally alters the picture on the detector by only a couple pixels. Considering any shift is not likely to be precisely (a multiple of) one pixel, scene detail can be localized with sub-pixel precision, as long as you interpolate between pixels when synthesizing the superb resolution picture.

After the unit is mounted on a tripod or otherwise stabilized natural hand movement is simulated by slightly moving the camera OIS module between shots.

The images out of a burst - of up to 15 frames on the Pixel 3 - have been adapting on a foundation grid of higher resolution compared to that of each individual frame. First a reference frame is selected, and then the rest of the frames are aligned relative to it using sub-pixel precision. This contributes to increased detail - albeit ultimately constrained by the lens' resolving energy - and cleaner images, because frame averaging reduces sound. Whenever there are objects which have moved relative to this reference framework, the program merely joins information from different frames if it has found the correct corresponding feature, thus preventing ghosting.

As a bonus there's no more need to demosaic, resulting in even more picture detail and less noise. With enough frames in a burst any scene element will have dropped on a crimson, green, and blue pixel onto the image sensor. After alignment G, R, and B's information is then readily available for any scene element, removing the requirement for demosaicing.

Furthermore, Google's mix algorithm takes into consideration edges in the picture and adapts accordingly, merging pixels along the direction of borders as opposed to across them. This approach provides a suitable trade-off between increased resolution and noise cancelling, and avoids the artifacts less sophisticated techniques introduce (see dots and enhanced perception of sound in the'Dynamic Pixel Alter' crop on right, here).

One might initially think'wouldn't it be much easier to just put an optical 2x zoom at the telephone', but maybe that is not the question to inquire. Super resolution can increase the resolution of even the standard camera with no zoom, and also all zooms between a wide and a tele module. And any technique that makes a single camera will make multiple camera approaches which much better. Imagine a smartphone using 4 or 3 lens modules that allows you to easily zoom between each of focal point, with high-resolution ensuring focal lengths in between those of each lens module stay detailed.