It's a great camera.Īpple's touting some serious improvements on this camera as a result of an improved imaging pipeline. This year's main sensor and lens combo feels just like one on the iPhone 14 Pro. Not 'great for a phone' - genuinely great photos. Not only did the iPhone suddenly take 48 megapixel photos - the camera itself began to render in a way that I could only ineffectively describe as 'real-camera-like': I really got shots that were great. Without hyperbole, it was easily the most dramatic shift for my personal photographic process. Last year, I waxed poetic about the main (or 'wide') camera on iPhone 14 Pro - taking it through Bhutan by motorcycle and Tokyo by foot. Hopefully this can be achieved similar to 2× mode, using a higher-resolution sensor that creates a virtual lens. It would help keep subjects framed with a bit less distortion near the edges and fewer accidental finger photos. ![]() One thing that I'd love in a future iPhone: an extra 'lens' in between this hyper-ultra wide and the regular camera, offering me a 16/18mm equivalent field of view. Shots are incredibly detailed and sharp, and the macro mode is astonishingly close focusing. In the dark it does fine, but in daylight, it does great. I noted very clear improvements in its handling of very bright light: while the occasional ghost can glint around the viewfinder, it happens a lot less often. This is a solid, sharp lens that's always fun, because there's almost no framing involved. Its field of view remains so incredibly wide that if you don't watch yourself, your body can accidentally end up in your frame. Additionally, the ultra wide camera benefits from better processing. Its sensor and lens are unchanged, according to Apple - with the notable exception of the coatings on the lenses, which means fewer flares and reflections when shooting into light sources. We'll kick off this review looking at the lens that has come standard on every iPhone for the last four years: the ultra wide. This year we gained a button, which we'll dive into later. ![]() Tactile feedback improves camera usability, and there's a reason that dedicated cameras still have physical buttons: it's hard to make tapping glass feel satisfying. If next year's standard size models offer same telephoto lens, I'm not sure if I'll downsize. That titanium frame and rounder edges really make a difference. ![]() I went into the 15 Pro Max expecting a little discomfort with a giant slab of glass and metal in my hand, but to my surprise, it felt manageable. Even my standard-sized iPhone 14 Pro felt borderline too large and heavy. My previous Large iPhone Experiences- especially iPhone 12 Pro Max- were enough to make me prefer the smaller screen sizes for every subsequent release. Its smaller, non-Max sibling maintains its excellent 3× lens. I chose the iPhone 15 Pro Max this year, as its optical zoom lens extends to 5× the default camera, or a 120mm focal length equivalent. The 15 Pro deserves a place next to the inimitable iPhone 4 which Steve Jobs himself described as related to a 'beautiful old Leica camera'. This product shot was captured with the iPhone 14 Pro. For the first time, I actually shot the new iPhone on the old one. It might be an illusion, but even the clearance and contour of the buttons make the entire thing feel more tactile. The rounded edges make it comfortable in the hand and contoured to your fingers. Gone are the reflective, shiny polished stainless steel rails, replaced with an almost imperceptible brushed finish titanium frame that feels fantastic and grippy thanks to its soft finish. The new Pro line depart from jewel-like appearance of last year. There's nothing more magical to design than a box that traps light and converts it to creativity.įew companies appreciate this, but Apple certainly did this year. It seems superficial, but camera design has been a playground and muse for artists and designers through the history of photography. ![]() I have to get this out of the way: I find physical camera design important. I'm also a freelance professional photographer. Intro note : Why should you believe me? I am the design half of Lux, and we make Halide, the most powerful pro camera for iPhone. This year brings a leap in materials and silicon, but marks an evolutionary photography step. These developments enable not mere steps, but leaps forward: the iPhone X's all-screen form factor and Face ID iPhone 7's Portrait mode last year's Dynamic Island and 48 megapixel main camera. I don't quite agree with that.Īs iPhones become better and better over the years, small steps eventually bring tip-over points, when technology starts to enable things that we couldn't imagine years before. Some say their success requires them making small, evolutionary steps seem revolutionary. Apple is in the strange position of having to slowly improve a product while also trying to reinvent it.
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