The Vivo X200 Pro sets the benchmark for what a telephoto lens can do on a smartphone.
It’s rare for a telephoto to take the lead on a phone’s rear camera array, but that’s my biggest takeaway after putting this device through its paces. It’s not just that it’s a 200-megapixel periscope; it’s also more adaptable than most others currently available. In a way, Vivo works somewhat backward with the X200 Pro by dialing things back in some respects to accommodate advancements elsewhere.
The results, though, impress more often than not. It has one of the most complete mobile photography packages you’ll find on a smartphone today. It’s also yet another demonstration of how much North America’s most popular phone brands are coasting along.
Design and Build
Some things look and feel different this time around. Vivo removes marketing labels that previously donned its devices. No more “Professional Photography” or “Xtreme Imagination” emblazoned on the phone body. Apart from the Zeiss logo (plus its T* Coating) and Vivo’s logo, the X200 Pro lacks any superfluous visual grandstanding.
This is good because there’s no need for gimmicks when there’s a lot to work with. Vivo also finds ways to improve the hardware. A flatter screen is a great start, though it retains a slight edge and more rounded corners. The semi-matte aluminum sides offer better grip and ergonomics when simply holding the phone or taking photos.
It’s unclear what Vivo used to make the glass back, but the ever-increasing size of the camera module largely overshadows it. It’s no surprise that it just gets bigger with each flagship launch, albeit not out of place when you compare it to other Chinese brands. When you put it next to an iPhone, Samsung Galaxy, or Google Pixel, it looks monstrous by comparison. Cramming in the collection of image sensors and lenses here makes the bump just as noticeable from a profile view. At least the included silicone case hides the excess just a little.
It’s a good thing it’s pretty rugged, courtesy of IP68 and IP69 dust and water resistance ratings. Why both designations? Because the ‘9’ indicates this phone can withstand higher pressure water at higher temperatures. You’re not likely to find yourself in such a scenario, but at least you have some peace of mind if you do.
On the front, the 6.78-inch AMOLED (2,800 x 1,260) is the same panel going back to the X90 Pro except the Armor Glass is tougher this time. There’s also Dolby Vision and higher peak brightness (with certain content).
Under the hood, Vivo is an outlier running on the MediaTek Dimensity 9400 processor, a 3nm chipset that should, in theory, compete against the Qualcomm Snapdragon 8 Elite chip. As for memory and storage, they start at 12GB of RAM and 256GB of storage, though other variants take that to 16GB and 512GB or 1TB of storage.
Camera Features
Vivo removes the Type 1 Sony IMX989 sensor from the previous X100 Pro and opts for a smaller Sony LYT-818 1/1.28-inch sensor instead. It’s still a 23mm equivalent, only with a wider f/1.57 aperture, optical image stabilization, phase detection autofocus, and 1.22µm pixels. There is a 2x zoom crop factor for a 46mm equivalent as well.
This is an odd pivot for the main camera, even if Vivo and Sony spin it by suggesting it can match the image quality of the IMX989. They cite better low-light performance and real-time HDR preview as two reasons why. It’s still a 50-megapixel shooter; pixel binned to 12.5 megapixels unless you use the High-Resolution mode.
The periscope telephoto lens proves more interesting for a few reasons. It’s a 200-megapixel Samsung Isocell HP9 — and one Samsung opted not to include in its latest flagship — with 3.7x optical zoom (85mm equivalent) and f/2.7 aperture. The Type 1/1.4-inch sensor is pixel binned down to 12.5 megapixels, which partly explains why Vivo claims better low-light performance. Again, you’d have to go with High Resolution mode for full-res images. Vivo makes the telephoto widely available in various modes since it can work for action, portraits, macro, landscape, Pro, and stage, among others (not to mention the video modes).
It’s a significant departure from previous Vivo telephoto cameras and one that carries over from the China-only X100 Ultra. That phone introduced the Isocell HP9 sensor and made waves for its ability to capture excellent results in varying conditions.
That’s not likely to be the case with the 50-megapixel ultra-wide camera (15mm equivalent) that sticks with the Samsung JN1 image sensor from the X100 Pro. It retains its f/2.0 aperture, autofocus, and 110-degree field of view. The front camera also stays the same, a 32-megapixel Isocell KD1 with a 25mm equivalent and fixed focus lens.
As always, Vivo’s collaboration with Zeiss brings the latter’s T* Coating to cover the full rear array. However, Vivo also acknowledges that lens flare issues may pop up, particularly with the main camera. I didn’t encounter this problem while testing the phone, but the mere fact that there’s a “glare reduction” slider in the settings tells me the company knows it’s a problem it can’t fully solve with software updates.
It doubles down through the Album app’s editing suite. Go to edit a photo there, and the AI features include a glare reduction tool. The whole suite is cloud-based, so you can only access those features when you have cellular or Wi-Fi connectivity.
Software Features
You’d be hard-pressed to find a software package that dives as deep as this one. There are plenty of different modes to choose from, plus various styles. The Zeiss Natural Color profile is still the most authentic, while Vivid saturates colors and increases contrast, and Textured keeps warmer tones and sharper details.
Some things are different. Long Exposure, long one of my personal favorites, is gone and essentially absorbed into the Landscape mode. Also gone are the Night, Food, and Supermoon modes. Night and Supermoon are now part of Landscape, whereas there is no dedicated option for food. Others integrate into existing ones as well to consolidate an otherwise crowded interface. Live Photo is now available as an option in a few of the modes, while Astro joins Landscape. On the video side, the previous Cinematic Portrait now becomes Portrait Video.
Snapshot returns as the best means to take action shots and bursts. Previously limited to the main and telephoto lenses, it now works with all three rear lenses, plus hybrid zooms as well. Stage is a new mode aimed at capturing concerts, festivals, and performances. While you could technically also try Snapshot for the same thing, Stage differs in that it also has a video mode within it. Both increase ISO to compensate for the faster shutter speeds necessary to freeze action. Vivo says it’s found ways to mitigate that by computation bracketing without specifying when it kicks in. It was hard to tell when looking at the metadata during my testing.
The editing suite in the Albums app isn’t bad. It can’t match the depth of the most popular photo editing apps, but at least it’s a competent alternative. The AI features are a bit hit or miss, though, so that’s one area Vivo is trying to catch up. Still, one of the best is the ability to adjust bokeh for any photo shot in Portrait mode afterward.
Image Quality
Main Camera
Losing out on a Type 1 sensor is tough, though you won’t notice it as much at the default 23mm range. It’s at the cropped 2x 46mm where the differences become more obvious, with softer edges and a lack of detail by comparison. Photos aren’t terrible by any means; it’s just hard to accept a step backward when the X100 Pro was so good in that range.
Despite that, the main camera is reliable due in part to the solid dynamic range and flexibility offered by the various modes. Snapshot, Stage, and Landscape are good examples, much like Pro mode offers a respite via its various manual controls. What’s also clear is Vivo is learning from past overreach by exercising restraint on sharpening when processing an image. It was right to push Night mode into Landscape since extra sharpening tends to happen more when using that over the regular Photo mode.
Real-time HDR helps you understand what to expect when snapping the shutter, but in fairness, some HDR still kicks in afterward that wasn’t visible before snapping the pic. Even so, Vivo is still the best I’ve seen at handling exposed light sources. I did get clippings of the fire performer, but I also got a little more detail and color out of the flames compared to the other phones I tried at the same time. The beauty of it is Vivo also maintains it with all three of the photographic styles, so it doesn’t matter if it’s Zeiss, Vivid, or Textured.
Telephoto
This camera carries the day for the X200 Pro for a few key reasons. First, its 85mm default focal length feels practical and very much in line with how it applies to different modes here. I used the telephoto more than any other lenses because I kept finding ways to utilize it. Whether I was at a sporting event, watching a performance, capturing a street scene, or angling for an image of a tasty dish, it became a go-to.
That brings me to the second reason, which is trust. Results surprised me with their general consistency and quality, all buttressed by the stunned looks I got from others when sharing them. I made a point of showing them where I could get a sense of what they thought without context, and every single one lamented how their iPhone, Samsung Galaxy, or Google Pixel couldn’t do the same at the same focal distance. The telephoto simply got the job done, helping me lean on it more and more.
That also applied to hybrid zoom. At 10x (230mm equivalent), I got results that just weren’t possible with any phone from those three brands, particularly with action shots. At a New York Knicks game, I was sitting high up in the 200 section, yet still managed to grab outstanding results at 10x zoom. Even at 20x, I was able to freeze movement enough to warrant praise from both myself and others. Simply put, the X200 Pro trounces the iPhone 16 Pro at the same telephoto focal distances and does it producing far less noise and blur. And as good as the OnePlus 13 is with its telephoto, it can’t beat what Vivo’s done here.
This lens also plays a distinctive role in Portrait mode since it kicks in at 85mm and 135mm. The 23mm, 35mm, and 50mm lengths come from the main camera, but you can get pretty creative when shooting at a further distance.
Pro and High Resolution
Vivo finally addresses a missed opportunity by enabling users to shoot in RAW at full resolution. This also applies to 14-bit SuperRAW images within Pro mode, allowing you to go down to 12.5 megapixels if you want to gather more light. Not much changes in Pro mode, otherwise, save for adding an effect adjustment panel that lets you tweak brightness, saturation, contrast, and sharpness. While not as highly touted from Vivo, they can make a significant difference in composition when playing around with them.
You won’t have those options in High Resolution mode. While you can now shoot full-res JPEGs in Pro mode — with all the manual control trappings — this mode sticks to the basics. It also caps telephoto shots to 50 megapixels. If you want 200-megapixel photos, you must do it in High Resolution. There’s a separate 200MP toggle to do it, otherwise you’re shooting at 50.
Despite the large number, results will vary, and they will only be decent in ideal lighting conditions. My photo of the Empire State Building looks fine, and when cropping in, it keeps a fair amount of detail. Naturally, it’s not a big enough sensor to look super sharp when pixel-peeping. The combination of focal distance at 85mm and the sheer number of pixels gives you latitude in how much you can crop in, especially if you’re only planning to share it on mobile. Imperfections visible on monitors won’t show up as clearly on those smaller screens.
Special Modes
An interesting mode that functions somewhat separately is Street Photography. You get to it by swiping up on the camera app’s interface from the bottom. This has Zeiss written all over it. Not only does it add a black-and-white option to the three existing photographic styles, but it also lets you choose among its various bokeh flare effects. You can also add a watermark and border background. This entire mode functions as a cross between Pro, Portrait, and Photo modes. There are manual controls, including the ability to save two presets, along with six focal lengths and center-weighted or spot metering to choose from.
The rest of the modes and options are nice to have. Long Exposure still works the same way, letting you choose a movement type, style, and exposure countdown. Snapshot is excellent, while Stage shows signs of promise, though I wouldn’t be surprised if it eventually ends up merged into another mode in Vivo’s next flagship. Landscape is even better now that it has the other elements involved, but its perspective correction feature remains a rare treat (when it works well) in mobile photography options.
Video Features
I focused my testing on still photos but also gave the X200 Pro a whirl with video. You can record in Video mode in 8K at 30fps, 4K and 1080p at 30fps, 60fps, and 120fps. Dolby Vision is available in 4K and 1080p in h.265 format by default, but if you use ultra stabilization, it cuts out Dolby Vision. Portrait Video lets you record at 24fps in 4K or 1080p, while Pro mode gives you all the same manual controls you get with still photos. That includes LOG video for extra control in post, a feature you can access in the regular Video mode. General footage looks good, and it’s clear that Vivo has taken some strides over the last two generations in quality. It’s not yet at the iPhone ProRes level, but the gap is closing.
Playing the Long Game
Going with a smaller image sensor in the main camera would usually doom a phone camera’s prospects, but it’s not as detrimental as expected. Plus, the telephoto lens bails out the rest of the array with its superb performance, buttressing one of the deepest camera apps in the business. There’s so much versatility here that it’s hard not to dive in and see what it can do, not to mention how Vivo’s partnership with Zeiss is paying dividends in the user experience.
The one thing holding this phone back is Vivo’s own Funtouch OS Android overlay. It’s never been great, and while it is better than before, it just doesn’t stand up against the likes of stock Android and OnePlus’ OxygenOS. Even Samsung’s One UI feels more cohesive, and Honor’s MagicOS is taking good steps. Vivo offers four years of Android and five years of security updates. With Samsung and Google at seven for both, Vivo’s software longevity isn’t on par.
The other problem for Vivo is to make the X200 Pro available. Yes, there is a “global launch,” but that doesn’t include North America. You have to import the device or grab one visiting overseas. That’s never been difficult, except that supply is tight as I write this review. Assuming that changes and the phone becomes easier to find, it’s worth considering it as a daily driver.
Are There Alternatives?
Competition is tight. The Honor Magic 7 Pro stands out because it’s in a similar boat: a high-end flagship without a North American presence. It features excellent hardware and improving software with a solid camera array. In case that matters, it’s also farther along on the AI side. Xiaomi is always in the running for the best camera, which was easy to consider with the excellent Xiaomi 14 Ultra. The 15 Ultra is likely heading for a global launch and will vie for the mobile photography crown.
Then there’s the OnePlus 13, a phone that earns its place as one of the best Android phones currently available (and for the rest of 2025). Various improvements in both hardware and software make it a compelling choice.
I’m still testing the Samsung Galaxy S25 Ultra, but my initial thoughts are that it can’t fully match the versatility of Vivo’s flagship. It’s also surprising that Samsung chose not to include the same image sensor in its telephoto lens. The S25 Ultra uses aging hardware and focuses more on AI-driven features. The Google Pixel 9 Pro is more of a continuation of the Pixel 8 series, though Google’s software computation and editing features are still world-class. For iOS users, the iPhone 16 Pro and Pro Max are the best you’ll find for the platform, except cracks keep forming in photo quality relative to the likes of the X200 Pro. It’s still the king of mobile video, though.
Should You Buy It?
Yes, if you can find one. It starts at roughly $1,100 USD, so it is not cheap, but it shoots better than most phones at that price anyway.
