This is because photographers - particularly in the digital era - do not ordinarily consider the creative advantages of self-imposed restrictions.Īnd when deliberate creative restrictions are suggested, the immediate response is to dismiss them or to suggest that they are wasteful (you're losing information at capture), better achieved in post-processing (so you have more "flexibility"). As a result, many photographers tend to perceive the one (mobile phone digital photography) as an inherently inferior subset of the range of the other (large digital sensor photography). The images are processed and edited in fundamentally the same way. You might, but even then you might also consider that learning from one medium can translate even to a very different medium.īut in any case here we're not talking about quite different media. Might as well compare oil pastel to charcoal There's no need to think too hard about it. It will anger a lot of photographers who like to whine about how mobile phone cameras can't do X, Y and Z, but here's the truth: if you don't understand what a mobile phone camera can teach you as a photographer, you're probably not really trying. What I thought was just a way to not-totally-give-up photography has turned into a work of its own. In the last two years, when studio portrait photography has been complicated or impossible, I have used my phone a lot, when out walking by myself.
Big aperture camera raytheon full#
I've owned a lot of kit over 20 years or so, though I still own a lot of it - I'm using a 14-year-old full frame DSLR and a seven year old full-frame mirrorless. They force you to think of other ways to isolate subjects, other ways to make use of light and contrast. Mobile phone cameras force you, for example, to really think about composition, because you can't simply blur out the bits you don't like (portrait mode still sucks). My mobile has taught me that a lot of what I relied on or worked with in a DSLR or mirrorless is a crutch. Good phone cameras have a value proposition all of their own, and they are utterly changing what we expect from photography.
In the same way that an 8x10" camera and a full-frame camera aren't. I'm not sure whether accessory lenses are so useful on some of the three and four camera mobiles, but it works well enough for my iPhone X. The only frustration that remains is that the iPhone's built-in camera app does not let you force the choice of either of the lenses. Get a phone case with a built-in 17mm thread (or bayonet if you pick a bayonet lens type). They are hard to align and I think that is a lot of why people find attachment lenses so disappointing. Screwing the lens on can be fiddly, especially with the semi-open, three-quarter circumference attachment threads you typically see on lens adapter phone cases.ĭon't use the clamp attachments. What difference there is, is that the Moment lenses use a tiny bayonet, which I think I would prefer to the 17mm thread Apexel, Ulanzi and others use. But then I happily use vintage lenses on my A7II that are worse in the corners! It is really fairly good though, until you get into the corners. I bought it because I wanted a slightly longer lens for portrait location scouting, and chose this one not because I am certain it is excellent but because I doubt there's enough of a quality gap between the Apexels and the Moment or Rhinoshield lenses to justify the much higher price. Kats Ikeda's site is a much better resource than my Twitter posts for learning about this stuff. I don't actually know a whole lot about the optics field I'm just dabbling as a hobbyist from a computer graphics perspective. The iPhone 12 gained an extra element, but they both use similarly weird ripply elements and you can see the clear lineage between the two phones.Īlso, as mentioned in the tweet thread and elsewhere in the comments here, Kats Ikeda has an excellent, incredibly detailed and thorough explainer on mobile phone lens design. In the past 5 years or so, advancements in phone cameras have come mostly in better sensors, far better image processing, and adding more cameras, but the basic principles of the compact ultra-aspherical lens design seem to still be in place.Īs an example, here is an exploded view of the iPhone 6's lens setup, and here is an exploded view of the more recent iPhone 12's lens setup. This particular design is from the iPhone 7 (or, more precisely, my guess is that it's from the iPhone 7 due to both the date of the patent and due to the elements matching up with marketing images of the iPhone 7), which is 6 years old now, but I think it's broadly still representative of modern smartphone lenses.
Hello! Original author (original tweeter?) here.
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