iPhone 16 Pro Max Camera Experience
2024-11-20
Shot on iPhone 16 Pro Max: 2634x4022, 6.765mm, f/1.78, 1/21s
The iPhone 16 Camera: A Compact Companion
The iPhone 16 camera doesn’t disappoint. It captures fast, satisfying images, which is essentially the standard for a smartphone camera today. It’s packed with features but still excels at its primary job: taking photos.
My Gear Setup: The Heavy Hitters
My main camera is a Sony A7III, a full-frame 35mm mirrorless. I carry two lenses: the Sony 20mm f/1.8 G and the Sony 85mm f/1.8 FE. On a recent trip to Japan, I took the Sony everywhere, and at times, it felt like a burden. The weight and the constant lens swapping (since I don’t own a zoom lens) got tiring by day three of the eleven-day trip.
While in Akihabara, I looked for a small used Sony point-and-shoot, but the prices were too high. A compact camera would have to wait.
Enter the iPhone 16 Pro Max
I wanted a smaller camera I’d be more likely to carry, resulting in more photos. I had an iPhone 14 Pro Max, but its camera didn’t quite feel ready to replace a point-and-shoot. Obviously, millions of people have done exactly that, even older iPhone models made great point-and-shoot replacements.
I just wasn’t ready for an iPhone to do that job until I got my hands on the iPhone 16 Pro Max.
Key Improvements: 48MP Ultra-Wide and 5x Optical Zoom
The increased 48MP resolution on the ultra-wide lens was a big selling point, along with the upgraded 5x optical zoom on the telephoto. Combined with the full move to USB-C, it was enough to convince me.
The first time I took an image with the 16 Pro Max that really wowed me was the photo you see above. It was taken shortly after sunrise on a late October morning, halfway up Ben Lomond. I used Portrait mode and the new style adjustment trackpad to capture it. Adjusting the tonality for a gritty, contrasty look was easy.
After the hike, I reviewed the photos and was thrilled. I touched up the contrast using Photomator on the Mac and added a bit of noise and grain to give it a film-like vibe.
The Appeal of Black and White
I’m often drawn to black-and-white photos because I believe it strips away some of the "noise." Instead of focusing on colors, I can highlight textures, composition, and details. These are the elements that make an image compelling. Color is fantastic for storytelling, but black-and-white images let other aspects take center stage.
Vertical Panoramas: A Guide
2024-11-28
85mm | ISO 400 | f/2.8 | 1/8000s | 3809 × 10225 resolution
Vertical Panoramas: A Guide
Panoramas don’t always have to sweep side-to-side—sometimes the best way to capture a scene is to go vertical. With a bit of patience and the Photo Merge feature in Adobe Lightroom Classic, you can stitch together stunning vertical panoramas that showcase tall subjects in all their glory.
Why would you want to do this?
Imagine you’re photographing a waterfall tucked into a tight, bowl-shaped canyon surrounded by sheer cliffs. Space is limited—you can’t back up far enough to frame the entire scene. Using an 85mm lens (or any telephoto lens), you’re stuck capturing only parts of the waterfall, like the foreground or middle section, and missing the full grandeur of the scene.
Telephoto lenses excel at isolating subjects but can make framing a challenge in tight spaces where you can’t physically step back.
Here’s where the vertical panorama technique comes in. By taking 4–5 overlapping images with the same settings (this is why shooting in manual mode is essential), you can capture every detail of the waterfall, top to bottom. Start with the foreground, then tilt your camera upward to capture the next portion of the scene, overlapping each shot by about 30%. A tripod makes this easier, but with steady hands, handheld works too.
Stitching it all together
Once you’ve got your shots, bring them into Adobe Lightroom Classic. Select the images, then use the Photo Merge > Panorama feature. Depending on your computer, Lightroom will process and stitch the images together into one seamless vertical panorama in seconds. While this can be done manually in Photoshop or other photo editors, Lightroom’s automated process is faster and more reliable for most cases.
If the stitching doesn’t come out as expected—maybe there’s misalignment or exposure inconsistencies—check your shooting process. Ensure each frame overlaps enough, and make sure settings like focus, white balance, and exposure remain consistent across shots. These are easy fixes that will save you headaches in post.
The results?
The final image of my waterfall panorama was 3809 x 10225 pixels—plenty of resolution for large prints. After stitching, you can crop or adjust the composition to fine-tune the final image while retaining a high level of detail.
Vertical panoramas are a game-changer for capturing tall or narrow subjects, especially when space or your gear’s focal length would otherwise limit you. Next time you’re faced with a towering subject, try this technique. It’s a simple way to elevate your photography—literally.