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Reçu — 19 août 2026 News: Digital Photography Review (dpreview.com)

We tested the Pixel 11’s Magic Capture and Camera Looks – here’s how each performs

Person in a wetsuit on a green surfboard, crouched low while surfing a wave in a fast-moving river with grassy banks in the background.Dale Baskin

Google’s Pixel 11 phones offer two very different angles on computational photography: let AI find the moment, or define your look before you shoot. Here’s how each performed in real-world testing.

Google’s new Pixel 11 smartphones include two headline camera features that represent different approaches to computational photography. Magic Capture aims to take the stress out of capturing the perfect moment by letting AI identify the decisive moment for you, while Camera Looks gives you greater control over your creative output by letting you define a visual style before you ever press the shutter button.

We’ve been testing both features on a Pixel 11 Pro XL to see how they work in practice, and whether the results hold up. The short answer is yes, but not without trade-offs.

What Magic Capture actually does and what the sample photos reveal

Magic Capture replaces the act of pressing a shutter button at the right moment. You roll video instead of shooting stills, and Google’s AI analyzes the footage to identify what it believes are the most compelling frames, then turns them into photos. The feature goes beyond simply extracting a frame from video and saving it as a still image: according to Google, the system analyzes roughly 400 frames in real time, combining on-device processing with Gemini AI technology.

Smartphone camera app interface displaying zoom options (1x, 2, 5, 10), a prominent white shutter button in the center, video and camera mode icons, a blue square icon on the left side, and a settings gear icon located below.
Magic Capture appears as a button to the left of the camera button in the Pixel’s camera app.

After stopping a recording, you can see the phone’s initial frame selections quickly, but they look flat and unfinished. Once the Gemini AI processing completes, which took around a minute or so in our testing for a 15-second clip, the selected frames become noticeably improved, popping with more detail, and with HDR scenes in particular looking significantly better. The final output is a 12MP still image.

The sample images below come from a 14-second Magic Capture clip of a surfer riding a standing wave in a river. Google’s AI did a pretty good job of selecting frames that captured the highlights.

A person in a black wetsuit stands on a bright green surfboard while surfing a river wave, with white water and greenery in the background.
Photo created by Magic Capture.
A person in a black wetsuit stands on a bright green surfboard while surfing a river wave, with white water and greenery in the background.
Photo created by Magic Capture.
A person in a black wetsuit stands on a bright green surfboard while surfing a river wave, with white water and greenery in the background.
Photo created by Magic Capture.

Image quality exceeds what you would typically expect from simply extracting a frame from a 4K video shot on a smartphone; it’s crisper, with better colors, and displays in HDR (when viewed on an HDR display).  It’s not quite up to the quality I’m used to seeing from a standard still photo shot on a modern 12MP smartphone, but it gets the job done, particularly if it’s mostly going to be viewed on other mobile devices.

For the best results, Google recommends enabling Video Boost before using Magic Capture, which ensures the underlying footage is captured in 10-bit 4K. That setting is worth locating before you go out to shoot, not after. Processing time is manageable for a single clip, but if you shoot several Magic Capture sequences back-to-back, the phone queues them for analysis, which can take a few minutes to complete.

Phone camera app interface displaying Magic Capture settings with Video Boost enabled. Zoom controls for 1x, 2, 5, and 10 are shown, along with menu, mute, and share icons on a dark background.
For the best results, Google recommends enabling Video Boost before using Magic Capture, which ensures the underlying footage is captured in 10-bit 4K.

One thing we haven’t fully assessed: how consistently Google’s AI selects the frame a photographer would have chosen. The feature’s premise, that the AI identifies the peak moment better than you can, is a pretty strong claim. Whether it matches a photographer’s instincts for capturing the decisive moment would require more testing to answer.

How Camera Looks works and what the photos look like

Camera Looks gives the Pixel 11 camera a selection of color and tone styles you can apply before you shoot. Google says the goal is to produce images that feel less processed and more like a deliberate photographic choice. The system is built around two layers that work together: base styles and creative presets.

In addition to Original (Google’s standard photo processing pipeline), there are three alternative base styles: Natural, Shadows and Vanilla, which sit at the top of the processing pipeline. They aren’t filters. They change how the camera collects and processes light before an image is generated, affecting how aggressively HDR merges multiple frames, how dark shadows are allowed to stay and how edge sharpening is handled. Think of them as choosing the core processing pipeline the camera runs on.

Smartphone camera app interface displaying editing options with the Default Look menu open and
The Pixel 11 series includes four base looks: Original, Natural, Shadows and Vanilla. They can be combined with creative styles to create a variety of looks.

On top of those base styles, you can apply one of six creative presets: Editorial, Velvet, Classic, Digi, Black Tie and Minimal. These apply LUTs meant to emulate film chemistry, specific eras of digital photography or stylized monochrome profiles. The combination you pick matters: applying Velvet on top of the Original base produces a different output than Velvet layered over Vanilla.

The three alternative base styles can be set as your default shooting mode and can be customized. The six creative presets live in a separate carousel, and the interface can take a moment to get used to. The distinction between the two layers isn’t obvious at first glance, and understanding which choices you can adjust versus those you can simply apply requires some exploration. Once you’re oriented, the workflow makes sense, though.

A yellow lift holds an artist painting a vibrant mural of trees and a mountain sunset on an outdoor wall, with a ladder, traffic cones, and bicycle positioned nearby.
Original base style.
A yellow lift holds an artist painting a vibrant mural of trees and a mountain sunset on an outdoor wall, with a ladder, traffic cones, and bicycle positioned nearby.
Shadows base style.
A yellow lift holds an artist painting a vibrant mural of trees and a mountain sunset on an outdoor wall, with a ladder, traffic cones, and bicycle positioned nearby.
Vanilla base style.
A yellow lift holds an artist painting a vibrant mural of trees and a mountain sunset on an outdoor wall, with a ladder, traffic cones, and bicycle positioned nearby.
Original base style with Editorial preset.
A yellow lift holds an artist painting a vibrant mural of trees and a mountain sunset on an outdoor wall, with a ladder, traffic cones, and bicycle positioned nearby.
Original base style with Velvet preset.
A yellow lift holds an artist painting a vibrant mural of trees and a mountain sunset on an outdoor wall, with a ladder, traffic cones, and bicycle positioned nearby.
Original base style with Classic preset.
A yellow lift holds an artist painting a vibrant mural of trees and a mountain sunset on an outdoor wall, with a ladder, traffic cones, and bicycle positioned nearby.
Original base style with Digi preset.
A yellow lift holds an artist painting a vibrant mural of trees and a mountain sunset on an outdoor wall, with a ladder, traffic cones, and bicycle positioned nearby.
Original base style with Black Tie preset.

Camera Looks fits a trend that’s already well established among both dedicated cameras and smartphones, where manufacturers offer in-camera film simulations, LUTs or custom picture profiles that let photographers customize their own looks. Google is applying the same logic to the Pixel 11 series, which means photographers who already think in terms of a preferred style will find the concept familiar.

Who are these features for?

Magic Capture and Camera Looks take different philosophical approaches to computational photography. Magic Capture removes a decision – when to fire the shutter – and replaces it with an AI judgment call. Camera Looks adds a decision, letting you define a visual style before you shoot rather than correcting for it afterward. One reduces your control while the other expands it.

Magic Capture removes a decision… Camera Looks adds a decision.

Magic Capture makes the most sense for scenarios where keeping up with fast, unpredictable action is genuinely hard: kids, sports, pets, or anything where the peak moment is difficult to catch manually. Or, as Google pitches, it lets you “live in the moment” by just rolling video and not stressing about capturing the decisive moment. If you really care about which exact frame gets selected, though, you’re trading that choice for convenience. Google’s AI selections in our sample photos were solid, but the feature works best when you’re willing to accept its judgment.

Camera Looks, by contrast, gives photographers something to bite into and exert creative control. Setting a default look before you shoot is a reasonable workflow for anyone who knows the aesthetic they want and doesn’t want to recreate it in editing every time.

Both features reflect where Google is taking the Pixel camera: toward a model where AI handles more of the technical and even creative work. Whether that’s a net gain depends on how much of that work you wanted to do yourself.

About the Author: Dale Baskin is a professional photographer, writer, and filmmaker based in the Pacific Northwest. He is the Managing Editor of DPReview.com.

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Capture One Mobile 4.0 brings desktop-grade denoising and healing tools to iPhone and iPad

The August update adds Enhanced Denoise, Color Balance, Heal & Clone and Keywords to Capture One’s iOS app, features that previously forced mobile shooters back to a desktop to finish an edit.

Digital collage showing photo editing tools, a color wheel, a smartphone displaying patterned clothing, and a stylized lemon slice on a plate with a fork and gray object.Capture One

Capture One has released version 4.0 of its mobile app as part of its August 2026 update, bringing four tools previously limited to the desktop software to iPhone and iPad. The release narrows the feature gap between the company’s desktop and mobile apps, giving photographers more editing capabilities on the go.

Tin can and lemon slice on an oval black plate with a fork beside them; photo editing interface with tools and color wheels visible on the left.
The three-way Color Balance wheel lets mobile users adjust shadows, midtones and highlights independently.
Capture One

Enhanced Denoise is a standout addition to version 4.0. Like other noise reduction tools these days, it uses AI to reduce noise while, according to Capture One, preserving fine details. Capture One has also added Color Balance, its three-way color grading wheel that allows photographers to adjust the color balance of shadows, midtones and highlights. It gives mobile users more tonal control than what was previously available in the Capture One mobile app. 

Another highly requested feature is the Heal & Clone tool, which lets photographers remove distractions on mobile devices. That means retouching no longer needs to wait until you’re back at the desktop. Capture One has also added Keywords support. Photographers can now tag and organize images in the field, making it easier to find the images they need. Lastly, the crop tool has been updated to follow the camera orientation when shooting tethered or copying and applying adjustments.

Person with dark hair wearing a patterned top sits outdoors in sunlight; editing brush settings including size, hardness, opacity, and flow are shown on the left side of the screen.
The Heal and Clone tool lets photographers remove distractions directly on mobile, no desktop required.
Capture One

These tools are all welcome additions to the mobile version of Capture One, which has long lagged behind the desktop in features. Our 2023 iPhone app review found the app well-suited to professionals but noted the fairly substantial toolset gaps. Thankfully, version 4.0 closes several of the most significant ones. For subscribers also using Capture One Pro on the desktop, the mobile app should function as a more credible extension of that workflow rather than a stripped-down companion.

Version 16.8.5 of the desktop app also sees some small updates, including the ability to pan with the middle mouse button, support for the OM System OM-3 Astro and more.

The updated versions are available now for iPhone, iPad and desktop.

About the Author: Abby Ferguson holds an MFA in photography and blends a fine-art background with extensive editorial and commercial experience. She built and led an in-house imaging program for a large vacation rental company and has served as an associate editor at Popular Photography. She also teaches at a local community college and serves on its Photographic Technology Program Advisory Board, sharing her knowledge and enthusiasm for the medium.

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Celebrating World Photography Day with captivating landscapes from the DPReview community

We celebrate World Photography Day today with a forum discussion featuring your photos showcasing diverse local landscapes.

A shot of Philadelphia from the Heritage Park Boardwalk in Pennsauken, NJ.CaseyD

We love to celebrate world events and special days as they approach. Last Friday, we asked the community what type of landscapes are near them and to share a photo with the rest of us. A key objective of the ask was to take a fresh photo only after our announcement. We wanted to see what people experience right outside their doors. It’s always fun to see the different places our community calls home.

“The journey of preserving images in time, which began with the invention of the daguerreotype, has evolved to the point where even the fleeting fury of lightning can be captured and immortalized. It bears witness to a powerful response from nature in an age when urban sprawl narrows the sky, and concrete stands in opposition to the natural world. The photograph makes visible the striking encounter between humanity’s desire to reshape nature and nature’s enduring power to remind us of its presence.” – Hicret

Here are some of the photos and comments they shared. Even our own team got in on the fun! Click each photo to see more within the forum conversation.

Vladimir Nogin

Taken Sunday morning 2026-08-16. This is local pond in Xuzhou city, China. It is full of lotus flowers and very beautiful a whole year. I love to came to that place, usually full of people. Nikon Z5 with Nikkor Z 50 F/1.4
This is a local pond in Xuzhou city, China. It is full of lotus flowers and very beautiful a whole year. I love coming to this place, which is usually full of people.

Nikon Z5 with Nikkor Z 50 F1.4
Vladimir Nogin

Ofer Agiv

The photo was taken with a Sony A7R4 in Greenland near the EQI glacier.
The photo was taken with a Sony a7R4 in Greenland near the EQI Glacier.
Ofer Agiv

DNZM

Bike path in coastal west of Netherlends
I grew up in the coastal west of the Netherlands, but I moved north decades ago. For the last decade and a half (give or take), I’ve been living in Leeuwarden. That’s the major city in this area, but there are tons of little, sometimes very little, villages dotting the landscape.

One of the things that always makes me feel at home and that I really associate with “Frisian landscape” is totally flat land (either with crops or with cows on it), never far from a body of water, wide skies with clouds, and wherever you look, you’ll almost always have two, three, sometimes more churches.
DNZM

Slass

More than a hundred cyclists waiting for bridge to be lowered after a boat has passed. Picture is taken at the canals on Amager, Copenhagen.
More than a hundred cyclists are waiting for the bridge to be lowered after a boat has passed. The picture was taken at the canals in Copenhagen, Amager.

Samsung Galaxy S25 | Built-in lens @ 23mm (35mm equiv.) | F1.8 | 1/6839 sec | ISO 80
Slass

gpwitteveen

Not exotic, but the city street lined with mature sycamore trees in the last hour of summer daylight was too good to miss taking a photo: Samsung a15 with the VWFNDR_MBL app for Android to bypass oversharpened, oversaturated, overprocessed photography. Low light, but leaning against a tree to steady the shutter release. ZIP code 49505 (latitude 43 degrees north).
Not exotic, but the city street lined with mature sycamore trees in the last hour of summer daylight was too good to miss taking a photo: Samsung a15 with the VWFNDR_MBL app for Android to bypass oversharpened, oversaturated, overprocessed photography. Low light, but leaning against a tree to steady the shutter release.
gpwitteveen

CaseyD

A shot of Philadelphia from the Heritage Park Boardwalk in Pennsauken, NJ.
A shot of Philadelphia from the Heritage Park Boardwalk in Pennsauken, NJ.
CaseyD

keepreal

Near the entrance to Zion National Park, Utah. Taken at sunset in very weak light. Nikon D300 Sigma 12-24mm f4.5-5.6 DG HSM at 12mm.
Near the entrance to Zion National Park, Utah. Taken at sunset in very weak light.

Nikon D300 Sigma 12-24mm F4.5-5.6 DG HSM at 12mm.
keepreal

Joe Explore Photography

Sunset at low tide at Town Beach in Mackay in Central Qld, Australia
Here is a sunset at low tide at Town Beach in Mackay in Central Qld, Australia, that I took yesterday. I was out in the low-tide zone photographing Eastern Curlews and Masked Lapwings when this composition revealed itself.

Canon R6II with RF 24-105mm F4 lens.
Joe Explores Photography

Abby Ferguson

Dense Florida swamp in August
I’m barely squeezing this in since I admittedly forgot to get a photo during my very busy weekend. Because I didn’t have much time today, I just walked down to the creek that runs through our neighborhood and took a photo from the bridge that runs over it. It was midday, during a heat bubble in Florida in August, so while this may look refreshing and nice, I can assure you, it was not. Also, don’t venture down there unless you want to be engulfed in mosquitoes. The light is far from ideal, either, but sometimes you have to embrace bad conditions and just take the photo.

I used the Panasonic S1RII for this shot, with the Lumis S Pro 16-35mm F4, because that’s what I had charged and sitting on my desk when I needed to run out the door. Basically, today was all about convenience just so that I could participate in this challenge. Maybe next World Photography Day, I’ll remember a bit earlier and have time to make something more exciting.
Abby Ferguson

tranceliner

Addolorata Church on Tal-Morr alongside the Three Towers
My photo captures the Sacred and the Profane: the historic Addolorata Church on Tal-Ħorr alongside the Three Towers directly across the road. Taken just a 10-minute walk from my home, this view illustrates the profound transformation of the Maltese landscape over the last two decades. Shot on a Panasonic FZ1000 and processed using DxO and the Nik Collection, as monochrome suits the scene best.

Panasonic Lumix DMC-FZ1000 | Built-in lens @ 289mm (35mm equiv.) | F4 | 1/30 sec | ISO 1600
tranceliner

Gayle159626

Federation Square, Melbourne on a Saturday afternoon in winter. A popular place to meet friends, enjoy the unseasonally lovely weather and watch the passing parade.
Federation Square, Melbourne, on a Saturday afternoon in winter. A popular place to meet friends, enjoy the unseasonally lovely weather and watch the passing parade.
Gayle159626

leunam

Ortenberg castle through the grapes, the city of Offenburg in the distance. Captured 90 minutes before the deadline with a Sony A7 + Pergear 35mm 1.4 at f8
Ortenberg Castle through the grapes, the city of Offenburg in the distance. My favorite spot for sunset photos (30 minutes of pedaling). Captured 90 minutes before the deadline with a Sony A7 + Pergear 35mm 1.4 at f8
leunam

There are so many other photos we couldn’t fit in this article that are shared in the forums. While not all met the requirements for inclusion in this article, they all deserve praise. Thanks to everyone who took the time to step outside and capture the unique landscapes of your region.

Feel free to share your local landscapes to continue to celebrate the day with us. We can’t wait to see more!

About the Author: Mathew Anderson is a proud Community Manager for the technology industry and a past visitor to DPReview.com for all his camera needs. He is currently the lead of DPReview’s community and primary communication link between the community and DPReview’s team.

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GXAce is making a panoramic camera “built specifically for photography” and sharing the journey

The GX-P1 will reportedly be a fixed-lens digital camera designed to shoot XPan-inspired 65:24 images.

A top-down image of a small camera against a dark background, with the title GX-Pan.GXAce

Photography YouTuber Casey Cavanaugh, also known as GXAce, is working on something new: a camera called the GX-P1. Cavanaugh has been teasing the camera for a few weeks, and there’s still a lot more we don’t know, but a newsletter he wrote, seen by PetaPixel, has shed a bit more light on what it’ll look like.

According to PetaPixel, the GX-P1 will be a fixed lens digital camera that shoots images in the 65:24 aspect ratio popularized by the Hasselblad XPan. The goal is to make a camera “built specifically for photography,” something Cavanaugh says “not a single camera company seems to want to do.” His goal is to crowdfund the camera later this year, though there’s apparently still quite a lot of work to be done.

The goal is to make a camera “built specifically for photography”

While the ultra-wide format has a number of dedicated fans, there aren’t that many options if you want to shoot it these days. Fujifilm built a setting for the aspect ratio into the GFX100RF, and Panasonic has built support for it into many of its full-frame cameras, but it’s far from common. But even if you have no interest in a camera dedicated to it, there could still be reasons to follow the GX-P1 project.

According to PetaPixel, Cavanaugh plans on publishing videos about the process of creating the camera, offering a rare inside look into what it takes to build a digital camera from the ground up. As he himself points out in his review of the Pixii Max, a small, independent team’s journey to bring a camera to market will look very different than that of a major company that has experience, existing relationships and economies of scale, but I’m still excited to see the process.

Cavanaugh is working with designer and creative director Ash Thorp, who has worked on movies like 2022’s The Batman and 2023’s Ant-Man and the Wasp: Quantumania, and the GXAce videos place a heavy emphasis on aesthetics, so I suspect we’ll get a lot of information about the work that went into the physical design the camera. So far, the team has only shown a few photos of the device, revealing what looks like an optical viewfinder, top plate informational display and a control dial.

We’ll have to wait until Cavanaugh releases more information, or the first video of the series, to find out more, but we’ll be eagerly waiting for the first episode.

About the Author: Mitchell started taking pictures at 10 and hasn’t stopped since. It’s been a wide-ranging adventure, spanning a wide variety of genres and locales, and occasionally dipping into fascinations with video and filmmaking. They honed their technical knowledge doing documentation, programing and QA, writing for The Verge, and just generally messing around on the computer to see what breaks.

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