Copyright PetaPixel
It only takes a few shots to realize just how different the Vivo X300 Pro is as a mobile photography tool. It is laden with improved performance and output, plus a photography kit made up of a 2.35x telephoto lens extender and grip with built-in physical controls and a 2300mAh battery. It’s stacked. A phone like this only further illustrates how much consumers in North America have been robbed of real innovation. Rather than settle for stagnant, iterative baby steps like the three dominant brands in this part of the world, Vivo finds ways not only to improve on a superb previous effort but also to throw new, useful tricks into the mix. The X300 Pro feels like a camera that also happens to be a smartphone. But what’s different this time is that the entire operating system gets an overhaul, and a direct link to Apple devices, making this the most compelling package the company’s ever produced. Vivo X300 Pro Review: Design and Build Vivo doesn’t deviate a great deal in the overall design for this phone, borrowing some key traits from the X200 Pro, like the round camera module, matte finish, and 6.78-inch AMOLED screen (2800 x 1260) with thinner bezels this time. Lacking a different take on physical appearance would usually make a phone feel like just another iterative change, but there are overarching changes presenting themselves in various other ways. On the one hand, the X300 Pro is a successor to the X200 Ultra, a China-only phone that was easily among the best camera phones produced in 2024. This phone adopts the same mounting ring around the camera module to slot in the adapter ring for the lens extender or a 62mm adapter for any ND filter you want to mount on it (none come with the photography kit). Vivo’s ongoing relationship with Zeiss means the rear module gets the same T* Coating as before. The body is both IP68 and IP69 dust and water-resistant for added toughness. Running on the MediaTek Dimensity 9500 processor, the X300 Pro global version also only comes in one 16GB RAM and 512GB storage configuration. Vivo plays it safe with colors, offering black, white, blue, and brown. A ‘Balanced’ Philosophical Approach Here’s where things start to get interesting. Yet again, Vivo chooses to stay away from a Type 1 sensor in favor of a Sony LYT-828 Type 1/1.28-inch sensor for its 50-megapixel main camera (24mm equivalent) with f/1.57 aperture, optical image stabilization, phase detection autofocus, and 1.22µm pixels. A 2x zoom crop factor (48mm equivalent) is also available. While in Shanghai for the X300 series launch, I spoke with Keshav Chugh, Vivo’s product manager for camera development, to learn why the company would drop a Type One — often still referred to as one-inch — sensor (again) that many competitors still market as a premium spec. Apparently, it’s not a cost-cutting move. “We didn’t stop it because we’re saving costs. The price is basically the same, or even more,” he tells PetaPixel. Without knowing any figures, I couldn’t verify whether it costs Vivo the same or not, but in any case, his issue with the Sony IMX989 Type 1 sensor is that it’s both dated and its architecture isn’t stacked, meaning it couldn’t handle the data throughput needed for modern features like 10-bit log, 4Kp120 HDR, Dolby Vision video, or Vivo’s own HDR pipeline. He reaches for a car analogy: “A one-inch sensor is like a 4.2-liter V8. The new 828 is like a 3.8-liter V6 twin-turbo. The V6 might be smaller, but in power-to-weight, efficiency, and fuel consumption, it’s better balanced. That’s the balance we’re making,” he says. Even so, that “balance” still has to work with competent software computation. Chugh points to more effective HDR with improved tonality driven by much better noise reduction as a “huge jump” in performance. He even goes so far as to present the X300 Pro as a rejection of the industry’s “obsession with HDR’s perfect exposure look” over the last few years. While he doesn’t mention Apple, Samsung, and Google by name, the implication is obvious to me since all three brands pursue that kind of look in different ways. Vivo, he says, seeks to restore natural shadows, deepen contrast, and add a distinctive signature tone. As outstanding as the company’s color science has been over the same timeframe, he considers it “a very long-term project” given that every tonal change requires massive algorithm retuning and extensive testing across thousands of scenes. “You can’t just change color tones in one year,” he adds. Telephoto Prowess Expands This also applies to the 200-megapixel telephoto lens (85mm equivalent), now built around a custom Samsung HPB Type 1/1.4-inch sensor developed to meet Vivo’s own requirements and algorithms. This kind of deeper hardware–software integration, he adds, lets Vivo process raw image data in ways off-the-shelf sensors simply can’t. HPB is an offshoot of Samsung’s HP9 sensor that proved so versatile in the X200 Pro (and Ultra) and Xiaomi 15 Ultra. Rumor has it Samsung will refuse to use the HP9 in its next Galaxy S26 flagship as well. The telephoto is ultimately the star of the show because it offers the most variation and versatility. Zeiss always had a hand in developing the lenses for Vivo’s flagships, but also in helping to miniaturize an apochromatic telephoto lens for the photography kit. This is a sturdy lens made of the same materials typically found in standard Zeiss lenses, giving it a certain heft. The APO lens is part of the wider kit that includes a case, mounting ring, and grip. The grip features a physical shutter, an exposure dial, a zoom lever, a video recording button, and a standard tripod thread underneath. There’s also a side button to trigger the built-in battery to top up the phone’s battery. Vivo previously introduced this kit with the China-only X200 Ultra, so the new X300 Pro brings it to global users for the first time. When put together, the phone feels like a camera system, aided significantly by the fact that the entire Vivo camera app’s modes and features are available when using the APO lens. The grip even has its own section in the camera settings, letting you switch from single to continuous autofocus, or select burst shooting when holding down the shutter. It’s the kind of granularity and customization you associate more with a real camera, and yet, here it is. The grip’s shutter also focuses with a half-press, mirroring the feel of a mirrorless or DSLR while shooting. By default, the APO lens extends the optical range to a 200mm equivalent, with 400mm, 800mm, and 1,600mm equivalents available as hybrid zoom options. OIS and software-based stabilization also combine to make handheld shots far easier at these varying lengths. Even without the APO lens attached, all of the rear cameras remain accessible through well-crafted cutouts in the lens mount. Plus, the built-in telephoto can focus as close as about 20cm away from a subject, making it a really useful lens to use under varying conditions as a complement to the main one. Software Features All of this implies AI is involved to some degree, something Vivo sees as a cutting-edge opportunity “when done right.” An example of this is the Landscape and Night mode, where tapping the AI button at the top activates a visual setting that adds generative AI effects within the setting. The idea is to complement a photo rather than replace it, so users can change seasons, time of day, add fireworks, turn it into a cel-shaded animation, or other creative effects directly in the camera app. There are no written or verbal prompts, no third-party app, and no payment required. “You get a full-resolution picture within 30 seconds, and it’s the only camera phone in the world that does it,” says Chugh. I’m not one for AI trickery in photography, though this particular mode does present interesting results that can be both playful and artistic. But it’s also walking a fine line. “AI as a trend is just going to go up, like with Sora and Nano Banana coming in, but as the product manager for AI, I am also trying to find the right balance between realism and AI. I don’t want it to be 100% imagery — I still want it to be photography, but enhanced photography,” he says. “It’s uncharted waters because we’re defining the benchmark rather than following one.” That’s why Vivo’s AI features are starting to reference real-world metadata, like gyroscope, compass, and elevation data, so that effects like sunsets appear in physically correct directions and lighting. The very idea of missing a sunset in reality only to capture it from a “too late” photo is entirely possible with the X300 Pro, but my experience with the device showed mixed results. Shooting skyward at a group of skyscrapers and then using the AI to add fireworks (multiple times), I was dismayed at how much empty space it left in the sky to apply the effect. On the other hand, it shocked me how it turned a night scene of Hong Kong into something that looks like it was captured at dusk. Beyond AI, Vivo’s software computation has long followed a distinct path, with its own imaging chip processing RAW data first before handing it off to the phone’s CPU. It’s probably the biggest reason why photos on the X300 Pro maintain a distinctive look. Zeiss’ photographic style also differs from the Vivo-engineered Vivid or Texture ones, which has been a standard mix of options going back years now. This phone also retains the crown for handling exposed light sources, tamping them down, and adding detail to harsh reflections in ways other brands simply don’t. I did, however, discover a weakness: artificial light above a certain wattage, angled a certain way, rips through the lens coating and straight to the sensor, causing lens flare issues. I can’t quantify the exact wattage or brightness, but it’s a unique instance where the light’s distance doesn’t have to be close for this to happen, as I noticed when capturing both the Orbit building in Shanghai and the Victoria Peak Tram in Hong Kong. Vivo X300 Pro Review: Image Quality Normally, I break down image quality by individual camera, but in this case, I’m lumping it all together because the consistency is readily apparent. I leaned on the telephoto far more than the main camera, simply because it proved so reliable. Vivo’s Street Photography mode is made for this camera array, and especially the APO lens. I had a blast using it in Shanghai and Hong Kong, the latter of which feels like a street photographer’s perfect canvas. To surpass the X200 Pro is no small feat, given the excellent results I got from that device. Here, the X300 Pro just feels like a big step forward, not only leaving the X200 series behind, but also further humbling the likes of Apple, Samsung, and Google. It’s what I call the difference between snapshots and photos. While it’s obvious that HDR is working, you can also elect to turn off some of the post-processing, leaving most of the workload to Vivo’s imaging chip. If you choose to shoot in RAW, you can take on the processing yourself, though I’m very disappointed that in spite of all the excellent manual controls and settings, there seems to be no way to shoot in RAW at full resolution. You’re left with pixel-binned 12.5-megapixel images instead, or you can go with 50- or 200-megapixel JPEGs through the regular Photo mode when selecting resolution. Despite that, the versatility here invites all sorts of experimentation. I found success using the Floating Clouds and Mysterious Mist settings within the Long Exposure mode as a way to capture moving vehicles at night for a streaky effect that looks different from the Flow of Traffic one. Snapshot is excellent for freezing action and works very well with the photography kit at concerts or sporting events. If you’ve ever struggled to capture your child playing a sport from a distance and freeze them in place, your odds go up exponentially with the X300 Pro. Its 10x hybrid zoom (242mm equivalent) is surprisingly sharp and can deliver a solid result handheld. Put it on a tripod or monopod for extra support and you’re likely to do even better. Arenas and pro sports venues that restrict attendees from bringing in bigger cameras should pose no problem. I had no issues myself. I used the X300 Pro in various places under various conditions, and it never really let me down. The APO lens and grip caught more than a few curious stares, but no matter how I shot or what I was capturing, the results impressed. That included those I met along the way using other devices who not only marveled at the sharpness and quality but were especially taken aback by the results from the telephoto. There’s also less noise than before, as well as a more realistic contrast between highlights and shadows, which is why you have to make exposure adjustments along the way to compensate. Focusing is fast, and while the grip can introduce a little shutter lag, it becomes more noticeable when shooting faster action. Switching to burst in Snapshot helps shave the timing down. The 50-megapixel ultra-wide offers less of a boost by using the same Samsung JN1 Type 1/2.76-inch sensor as the previous two models. Vivo’s improved processing applies here, though, so it at least feels like there’s been a bump in output from that standpoint. Video Features The newer sensors for the main and telephoto cameras pay dividends in video quality as well, up to the point where 4K at 120fps is a native option. Improved stabilization also helps the cause making handheld clips easier to manage. Altogether, you can record in 8K at 30fps, 4K at 30fps, 60fps, and 120fps, or 1080p at 30fps and 60fps in Video mode. As before, you get Dolby Vision in 4K and 1080p in H.265 format by default, but you also lose it if you use ultra stabilization. Portrait Video emulates a cinematic look with how face detection works, while Pro mode gives you full manual control. For log recording, you have to go to Video mode. New OS and Apple Device Integration The other element with the X300 series is doing away with the terrible Funtouch overlay and replacing it with Vivo’s more interesting OriginOS 6. Not only is it smoother and more refined but it’s also bringing in full interoperability with Apple’s devices. Now you can take photos with an X300 Pro and transfer them to an iPad or Mac. Screen mirroring, drag-and-drop transfers, copy and paste — the integrations are significant. They also apply to Windows PCs, so it’s a notable change that finally expands beyond just Vivo’s China-only variants. You just need to download and install Vivo’s Office Kit app on your computer to make the connection work, and you don’t have to sign in to a Vivo account to share files or mirror your phone screen, either. Sharing with an iPhone requires turning on VivoShare on the X300 Pro in the settings and for the iPhone user to have Vivo’s EasyShare app installed. Vivo clearly took inspiration from Apple in designing OriginOS, as evidenced by the quick settings pane and “Origin Island” that work around the front camera’s cutout. The Vivo X300 Pro Is the New Industry Benchmark for Mobile Photography I suspect those familiar with Vivo won’t find a lot of this review surprising. The company continues to push hard on the imaging side, which helps spur intense competition among Chinese brands, a juxtaposition that stands out so starkly against the inert malaise we keep seeing from more established brands. The phone itself is already more than capable but when I include the kit in the mix, I see it as the kind of rig that would be perfect for travel, street, or action photography. The X300 Pro stands out not just for taking outstanding photos on a mobile phone, but also for doing so across a variety of situations and settings. The color science and dynamic range remain industry-leading, and when put up against the “Big 3” in North America, Vivo’s flagship simply confirms the kind of gap I’ve been seeing for at least the last four years. It can be awkward to take photos with a grip and an APO lens attached, but it also feels liberating for the inalienable fact that it creates opportunities. Shooting in portrait orientation at ground level for worm’s-eye view is infinitely easier with a grip, while zooming in from afar for crisp results makes the lens feel indispensable. For me, it wasn’t just about having cool gear to work with; it was how I felt utilizing the flexibility such a system afforded me. All that said, there are caveats to consider, one of which is that having this kind of zoom capability in one’s pocket could lead to privacy invasions. From above at Victoria Peak in Hong Kong to street level in Toronto, I could peer through windows into faraway buildings and make out details in a home or office, right down to who was sitting or walking within them. At the same time, capturing wildlife from a distance without hauling a lot of gear also feels like a nice opportunity. It makes video recording both interesting and unsettling at the same time. You can get quality footage with the APO lens, though I would personally resent someone recording me unsolicitedly from a distance for whatever reason. I know these trade-offs have long existed in photography, but when the pieces all fit in your pockets, the paradigm can shift. Are There Alternatives? There is, and the best pretty much all come from China as well. The Oppo Find X9 Pro utilizes Oppo’s partnership with Hasselblad to also craft an APO lens to extend the phone’s own telephoto capabilities. The full system differs in design and installation, but given the photography prowess involved, it’s a serious competitor. The Xiaomi 15 Ultra has a photography kit with a grip and an easy way to add on 67mm ND filters, but has no similar lens attachment to expand on its telephoto. Xiaomi’s collaboration with Leica contributes to a unique style that helps the phone produce excellent images, save for the biggest weakness, which is blowing out exposed light sources. The Honor Magic 8 Pro looks to be an interesting option as it comes out soon, though I can’t yet speak to any particular standout points yet. The OnePlus 15 is essentially a clone of the Oppo Find X9 Pro, except OnePlus no longer includes Hasselblad in its software, so the photography experience looks to take a different approach. Having used it a little so far, I can say it’s a very capable shooter, though, like Honor, you have no proprietary grip or lens attachment. On North American shores, there’s just no comparison. The iPhone 17 Pro/Pro Max remain strong on video quality but otherwise move at a snail’s pace for still images. The telephoto and low-light performance aren’t good enough when comparing them to what Vivo can deliver, nor has Apple paid any real attention to action, long exposure, or street photography in any meaningful way. That being said, it could be interesting to see how the latest iPhone performs when paired with something like Sandmarc’s new telephoto lens. It’s very much a similar story with Samsung and Google, whose flagships are both capable of producing good shots, but you have to work harder to get them. Moreover, while Samsung gives you a lot of tools to work with, Google offers fewer, though I am a fan of the new Camera Coach AI as a way to help people compose better photos. The key is these three brands simply don’t innovate on the camera side at anywhere near the same pace. Should You Buy It? Absolutely. As of this review, the Vivo X300 Pro is arguably the best phone camera available. Asia, India, Europe, and other markets will find it easier to obtain one, whereas North Americans will have to import it. If you can buy one overseas, you won’t regret it if you want a more serious camera to go with your phone. The only problem is that it won’t come cheap. In Europe, the phone sells for €1,400, while the photography kit adds another €600. That’s expensive, and converted to USD, it gets uncomfortably close to what a good mirrorless camera can cost.
