“This year’s leap, however, feels particularly meaningful,” Paczkowski writes. “And there’s a decent argument to be made that the enhancements to the camera systems in the 8 Plus and the X are some of the biggest upgrades in the new line. The camera’s effects don’t rely on filters. They’re the result of Apple’s new dual camera system working in concert with machine learning to sense a scene, map it for depth, and then change lighting contours over the subject. It’s all done in real time, and you can even preview the results thanks to the company’s enormously powerful new A11 Bionic chip. The result, when applied to Apple scale, has the power to be transformative for modern photography, with millions of amateur shots suddenly professionalized.”
“And to get it right, Apple relied on what it does best: enthusiastic study and deconstruction of the art form it wishes to mimic and advance,” Paczkowski writes. “In the case of the iPhones 8 Plus and X, this meant pouring over the way others have used lighting throughout history — Richard Avedon, Annie Leibovitz, Vermeer.”
Read more in the full article here.
MacDailyNews Take: iPhone “makes everyone a professional photographer,” you know, except for composition, meaning, and artistry.
Put iPhone X in Joe Schmo’s hands and in Avedon’s hands and have them shoot in the same area and you’re immediately going to see amateur vs. professional in very stark contrast.
DxOMark: Apple iPhone 8 Plus offers the best smartphone camera we’ve ever tested – September 22, 2017