Posts tagged with "photography"

Kino First Impressions: An iPhone Video Camera App from the Makers of Halide

I’ve been playing around with Kino, a video camera app by Lux, on and off for the past day. That’s not long enough to do a full review, so instead, I got up this morning and headed out for a walk with Kino in tow to see what the default experience is like. The short answer is it’s excellent. Kino is designed to work well out of the box for a novice like me but offers manual controls for someone who needs less hand-holding. It’s similar to Lux’s approach to Halide, the company’s pro camera app, and my early experience with Kino has been just as good as it’s been with Halide.

Kino and Halide share a similar design aesthetic, so if you’ve ever tried Halide, you’ll have no trouble finding your way around Kino’s UI. There’s a record button at the bottom of the screen flanked by a button to access the video you’ve taken, which can be stored in your photo library or in the Files app, and a button for the app’s Instant Grade feature. At the top of the screen are controls for resolution, frame rate, and format presets, as well as a ‘Custom’ option. The top of the screen is where you’ll also see your audio levels and a button for switching between automatic and manual exposure. Just beneath the viewfinder are controls for toggling auto and manual focus, picking your camera lens, and a button for accessing additional controls and the app’s settings.

Like Halide, Kino also comes with a set of guides to get you started, which I haven’t tried yet because they weren’t available in the beta version of the app. However, if they’re anything like Halide’s guides, I expect they’ll be worth checking out if you’re new to shooting video and want to get the most out of Kino.

Some of Kino's built-in color presets.

Some of Kino’s built-in color presets.

The app shoots beautiful video by default. Here’s an example of a short walk through Davidson College’s campus using all default settings, the iPhone 15 Pro Max’s Ultra Wide lens, and no post-processing.

The marquee feature of Kino is its Instant Grade. The app also comes with a collection of built-in color presets that you can preview in the viewfinder, making it easy to find one that fits your needs. The collection that comes with Kino has been created by video experts, including Stu Maschwitz, Sandwich Video, Evan Schneider, Tyler Stalman, and Kevin Ong. But you’re not limited to the presets that come with Kino. You can also import any LUT using the app’s integration with the Files app.

I visited a nearby lake and shot some video with Kino’s default settings enabled, and then tried each of its color presets:

The app also implements something Lux calls AutoMotion, which applies an exposure logic that gives video a cinematic feel. It’s another feature that just works out of the box for novices who don’t want to dig deeper. However, you always have the option to vary from the defaults, adjusting settings manually.

My first-run experience with Kino was great. I didn’t explore the app before heading out the door this morning, yet I had no trouble figuring out the basics and shooting video that looks good with no processing whatsoever. With more practice and some post-processing, I’m sure the results would look even better, but I love how well my video turned out with minimal effort. I’m planning to spend more time with Kino over the summer and look forward to checking out Lux’s guides to improve my video skills.

Kino is available on the App Store for a one-time price of $9.99, which is a short-term launch price. In a few days, the app will be $19.99.

Stu Maschwitz on the Filming of Apple’s Let Loose Event→

This week’s “Let Loose” Apple event was filmed on the iPhone and edited on the Mac and iPad. During the event, filmmaker Stu Maschwitz noticed that some scenes featured a shallower depth of field than is possible with the iPhone’s cameras. Although he doesn’t cite a source, Maschwitz says he figured out how Apple got those shots:

“Let Loose” was shot on iPhone 15 Pro Max, and for several shots where a shallow depth-of-field was desired, Panavision lenses were attached to the iPhones using a Panavision-developed mount called the “Lens Relay System.” This rig is publicly available for rent from Panavision today, although not currently listed on their website.

As he further explains:

With Panavision’s new system, the iPhone’s own lens captures the areal image created by any Panavision lens you like. The iPhone provides the image capture, in ProRes Apple Log, of course.

In fact, “Let Loose” is the first Apple Event finished and streamed in HDR, pushing the iPhone’s capture abilities even further than “Scary Fast.”

The wildest part of all is the seamlessness of it all:

Or think of it this way: Apple confidently intercut footage shot with the most elite cinema lenses available with footage shot with unadorned iPhone lenses.

I appreciate Maschwitz’s perspective on the capabilities of the iPhone’s cameras. Having rewatched this week’s event a couple of nights ago, I would never have suspected it was shot on a mobile phone if I didn’t know to look for the note at the end of the video.

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The Creativity Enabled by the iPhone 15 Pro’s New Cameras and Action Button

Every year, one of the most anticipated iPhone hardware announcements is changes to its camera. This year, the iPhone Pro Max’s new telephoto lens was the center of attention. However, there were other notable tweaks to the camera hardware and software across the iPhone lineup, too. Plus, we got a hardware bonus in the form of the iPhone 15 Pro and Pro Max’s Action button, which can perform some interesting tricks. Now, with the new iPhones in the hands of people around the world, we’re starting to see what that hardware can do in practice, and I’ve got three examples I’d like to share.

Source: Lux.

Source: Lux.

The first is an update to the camera app Halide that does something incredibly clever. Built into version 2.13 of the app is a shortcut that can be tied to the Action button to open Halide with a single press. That’s something you can do with any app using an Open App action, but Halide goes a step further by offering in-app functionality if you tie the button to its app. In the app’s settings, you can choose to tie the Action button to any of the following options:

  • Do nothing
  • Lenses
  • Exposure Mode
  • Focus Mode
  • RAW
  • Resolution
  • Capture

After using the Action button to open the app, pressing the button again will perform whichever action you picked in its settings. For example, if you chose Lenses, the first press of the Action button from outside the app will open Halide, and subsequent presses will cycle through each of the available camera lenses. I love this use of the Action button and hope other developers do the same, adding contextual actions to more apps.

A 5x telephoto shot by Sebastiaan de With.

A 5x telephoto shot by Sebastiaan de With.

Speaking of Halide, Sebastiaan de With, one of its creators, published a review of the iPhone 15 Pro Max camera today, concluding that:

With iPhone 15 Pro Max’s default 24 megapixel resolution, added ‘lenses’ under the main camera lens, automatic depth capture for portraits, and that 5× lens, this release might not blow away on a spec sheet, but is massive for everyone who uses an iPhone to take photos.

There’s a lot of ground to cover between the hardware and processing changes happening behind the scenes. Plus, de With is an excellent photographer whose shots do a fantastic job illustrating what is possible with the iPhone 15 Pro Max. So be sure to check out the full review.

Finally, the iPhone’s camera takes amazing video, too. This year saw the introduction of Log encoding for Pro Res 4K footage. That opens up a wider range of editing control using apps like Final Cut Pro, which Joey Helms used to create this amazing video of Chicago:

I’ve had my iPhone 15 Pro Max for just four days, and already, I’m enjoying taking photos as I walk around my neighborhood and playing with features like adding Portrait mode after the fact to images like the one below.

Before (left) and after (right) applying Portrait mode.

Before (left) and after (right) applying Portrait mode.

The result is a lot more creative freedom that’s more accessible than ever, not only because your iPhone is usually in your pocket but because the tools Apple has created for taking great photos and videos are so easy to use.

Photo Scout: An Excellent Photographer’s Companion for iPhone and iPad

Taking a great photo requires a lot of variables to fall into place. It’s amazing when this happens by happenstance, but what if you could stack the odds in your favor? That’s the question Photo Scout by Cascable answers.

Photo Scout, available for the iPhone and iPad, combines location data with weather conditions, date and time information, sunlight, and night sky variables to recommend when you should grab your camera or drone and head out for a photo shoot. The app can account for many variables, but what’s best about Photo Scout is that it makes managing them simple.

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Obscura 4 Features A Refreshed Design, New Features, and A Different Business Model

Ben McCarthy’s career as a developer coincides almost exactly with mine as a writer. As a result, I’ve had the pleasure of watching Obscura evolve from little more than an idea to one of the best camera apps on the App Store. As with so many apps, what sets Obscura apart from others is Ben’s attention to detail, impeccable design taste, and deep knowledge of the app’s subject matter – photography.

Today, Obscura 4 is out, less than two years since I reviewed version 3 with a refreshed design and a handful of new features. The update includes a change in Obscura’s business model, too. In the past, the app was paid up front, with each major release being a new purchase. Going forward, Obscura is free to download, with certain advanced features, known as Obscura Ultra, requiring a subscription.

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Mac Photo Organizer Peakto Adds Pixelmator Pro Support

Source: CMYE.

Source: CMYE.

CYME announced today that its app Peakto has added Pixelmator Pro integration. Peakto is a Mac app that uses AI to organize your photos from numerous sources, including Apple Photos, Lightroom Classic, Luminar, Capture One, and more. The app handles multiple file types and offers navigation by keywords, location, and other metadata too.

Today’s announcement adds Pixelmator Pro documents to the mix. As with other image sources, Pixelmator Pro files will be organized and viewable in Peakto. For Pixelmator Pro users, the announcement today means new ways to explore their image collection alongside images from other apps. The integration with Peakto also allows Peakto users to access Pixelmator Pro as an editing destination with one click.

I haven’t had a chance to try Peakto’s new Pixelmator Pro integration yet, but it looks like a good combination for users of both apps. Peakto gains another source of photos to organize, and Pixelmator Pro users have a new way to manage their images.

Both Pixelmator Pro and Peakto are available on the Mac App Store. Peakto is also available directly from CYME.

MKBHD on Apple’s Processing Techniques for iPhone Photos→

In his latest video, MKBHD eloquently summarized and explained something that I’ve personally felt for the past few years: pictures taken on modern iPhones often look sort-of washed out and samey, like much of the contrast and highlights from real life were lost somewhere along the way during HDR processing, Deep Fusion, or whatever Apple is calling their photography engine these days. From the video (which I’m embedding below), in the part where Marques notes how the iPhone completely ignored a light source that was pointing at one side of his face:

Look at how they completely removed the shadow from half of my face. I am clearly being lit from a source that’s to the side of me, and that’s part of reality. But in the iPhone’s reality you cannot tell, at least from my face, where the light is coming from. Every once in a while you get weird stuff like this, and it all comes back to the fact that it’s software making choices.

That’s precisely the issue here. The iPhone’s camera hardware is outstanding, but how iOS interprets and remixes the data it gets fed from the camera often leads to results that I find…boring and uninspired unless I manually touch them up with edits and effects. I like how Brendon Bigley put it:

Over time though, it’s become more and more evident that the software side of iOS has been mangling what should be great images taken with a great sensor and superbly crafted lenses. To be clear: The RAW files produced by this system in apps like Halide are stunning. But there’s something lost in translation when it comes to the stock Camera app and the ways in which it handles images from every day use.

Don’t miss the comparison shots between the Pixel 7 Pro and iPhone 14 Pro in MKBHD’s video. As an experiment for the next few weeks, I’m going to try what Brendon suggested and use the Rich Contrast photographic style on my iPhone 14 Pro Max.

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Sebastiaan de With’s iPhone 14 Pro Max Camera Review→

Photo: [Sebatiaan de With](https://lux.camera/iphone-14-pro-camera-review-a-small-step-a-huge-leap/)

Photo: Sebatiaan de With

Sebastiaan de With, part of the team behind the excellent camera app Halide, has published his annual iPhone camera review, this year putting the iPhone 14 Pro Max through its paces in and around San Francisco, Bhutan, and Tokyo. de With’s review is packed with details about every lens and Apple’s computational photography pipeline, taking readers behind the scenes in ways that Apple simply doesn’t.

Regarding the front-facing camera de With says:

In our testing, the iPhone 14 Pro achieved far sharper shots with vastly — and we mean vastly — superior dynamic range and detail.

The ultra wide camera was substantially improved too:

…with iPhone 14 Pro’s ultra-wide camera comes a much larger sensor, a new lens design and higher ISO sensitivity. While the aperture took a small step back, the larger sensor handily offsets this.

However, it’s the 48MP main lens that impressed de With the most:

While arguably, a quad-bayer sensor should not give true 48-megapixel sensor resolution as one might get from, say, a comparable ‘proper’ digital camera, the results out of the iPhone 14 Pro gave me chills. I have simply never gotten image quality like this out of a phone. There’s more here than just resolution; the way the new 48 megapixel sensor renders the image is unique and simply tremendously different than what I’ve seen before.

Overall, the advances made to Apple’s Pro-line cameras are impressive this year. With new shooting modes and changes across all of the cameras, I’m looking forward to spending more time experimenting with what the iPhone 14 can now do.

Be sure to check out the full review for de With’s stunning photography and details on the iPhone 14 Pro Max’s other lenses, as well as what’s improved and what hasn’t when it comes to Apple’s Photonic Engine processing pipeline.

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The Halide Team Compares the Camera Specs of the iPhone 14 Pro to the iPhone 13 Pro→

If you’re curious about the technical changes to the iPhone 14 Pro’s cameras, the Halide team has you covered with a side-by-side comparison between the iPhone 13 Pro and iPhone 14 Pro. There are a lot of interesting details in the post, but it looks like the most significant changes are to the Main (formerly known as Wide) camera:

The Wide camera sees the greatest changes. The lens gets a bit wider, a 2mm focal length difference. The aperture is smaller (‘slower’), means the lens collects less light. This was probably necessary to work with a larger sensor. We calculate that the Wide camera is able to collect 20% more light compared to last year’s camera, even with this slightly worse aperture, thanks to its larger size.

We’re astonished by the improvement in the camera sensor’s ISO range. It goes far beyond previous iPhone cameras. Given high ISO values are accompanied by more noise, it’s highly likely this ISO range is made possible by how its higher resolution sensor combines 4 pixels into one, vastly reducing noise.

How these spec changes play out in practice will be interesting. We got some initial impressions in the reviews published earlier today, and Austin Mann’s review reveals some of the practical implications of the numbers cataloged by the Halide team. Still, I’m eager to see what Halide’s Sebastiaan de With and others think once they’ve had more time to push these cameras to their limits.

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