As an avid gamer and tech enthusiast with over two decades of experience under my belt, I’ve seen the evolution of smartphones like a seasoned detective follows the twists and turns of a thrilling mystery. And let me tell you, the latest chapter in Apple’s iPhone saga has left me utterly captivated.
Every year like clockwork, fall begins around last month, bringing with it a palette of changing leaves, warmth, and the excitement of new iPhones. Since its introduction in 2007, Apple has consistently unveiled updated models in this season, usually in September. Last month, we saw the arrival of the iPhone 16 and iPhone 16 Pro, which represent the eighteenth generation of Apple’s top-selling product – according to Forbes, the iPhone is currently the world’s best-selling smartphone.
Apple’s triumph with the iPhone is attributed to its consistent innovation in design, software, and hardware upgrades. A recent addition to this evolution is the introduction of a novel feature, “Photographic Styles,” debuting with the iPhone 16 series. It seems that Apple is placing greater emphasis on photography within the iPhone, but what are Photographic Styles exactly, and why are they so intriguing? And… isn’t it correct to say that they function similarly to filters?
The short answer to that last question is no. A longer one would be to say that, before now, it simply wouldn’t have been possible for a phone to run a something like Photographic Styles as the technology needed for such a complex computational model wasn’t ready. It is now, though, so we asked Pamela Chen, Apple’s Chief Aesthetics Scientist for Camera and Photos, to explain the distinction between filters and Photographic Styles. She told us there are three key distinctions between the two, “The first is that [Photographic Styles] are semantically adaptive,” meaning that the feature is powered by AI that has been trained to understand contextual information (such as the difference between skin tones and skies, and being able to then apply effects to these individual elements of a photo) and has the ability to learn and adjust as it goes. “It’s really different from a filter, which is essentially not semantically aware,” Chen added, giving the example that filters are applied to an image in its entirety without consideration for any nuance. The second and third reasons Photographic Styles differs from filters, Chen said, was that users can both “see the style applied in real time” before they take a photo, as well as having the ability to “make intensity adjustments” on screen, and they apply changes to photos in a totally reversible non-destructive way.
An ultra-wide shot with the ‘Stark B&W’ style applied. (Photo: Felix Young)
A fall photo with the ‘Cozy’ style applied. (Photo: Felix Young)
For several weeks now, we’ve been testing out an iPhone 16 Pro Max, giving its innovative camera features a thorough run. There are 15 distinct Photographic Styles to choose from, ranging from the subtly hued ‘Cool Rose’ to the intensely contrasted ‘Stark B&W’. The user-friendly interface makes it easy to navigate, with just a swift swipe needed to switch between the various styles. Users can also customize both the tone and color for each style, and there’s even a slider that allows them to adjust the overall intensity of any given style. In essence, Apple has managed to make a highly sophisticated device feel remarkably straightforward and user-friendly. Chen, who delves into the annals of photography in her role at Apple, shares this sentiment, emphasizing her commitment to ensuring that the device remains simple and enjoyable for those unversed in photography’s history.
Apple has collaborated with multiple artists to showcase the innovative camera capabilities of the iPhone 16 lineup, such as fashion photographer Sarah Silver who found that the ‘Ethereal’ among the 15 Photographic Styles evoked delight during a recent photo session in New York.
It seems reasonable to observe that this year’s iPhones share a striking resemblance with their predecessors, and the differences between models have been diminishing over recent years. Upgrades have tended to be incremental, focusing on particular aspects. Despite our significant advancement since the initial iPhone and its 2-megapixel camera (which, by the way, could fetch six figures if you’ve got a sealed one), we’ve barely begun to explore the potential of AI in modern photography.
Read More
Sorry. No data so far.
2024-10-25 05:56