13 Smartphone Photography tips & tricks

Summary

This script explores the unexpected advantages of using smartphones for photography despite their limitations. It argues that the ubiquity, discretion, and inherent limitations of phone cameras can actually enhance creativity and force photographers to focus on fundamentals like composition and storytelling. The speaker shares practical tips for capturing high-quality images with a phone and highlights the work of Kathy Ryan, proving that even with a 'mediocre' camera, stunning photographs can be achieved.

Takeaways

• 📱 Smartphone cameras, despite their limitations, can be powerful tools for photography due to their convenience and ubiquity.
• 🔍 High-end cameras offer advanced features, but the most critical factor in image quality is the photographer's skill and creativity.
• 🤳 The always-present nature of smartphones allows for capturing spontaneous moments that might be missed with other camera systems.
• 🕵️‍♂️ Holding a phone is less conspicuous than a traditional camera, allowing photographers to blend in and capture more candid shots.
• 🚫 The limitations of phone cameras can be a creative advantage, forcing photographers to focus on composition, lighting, and storytelling.
• 🎨 Choice can hinder creativity; working with limited tools can help photographers to think more critically about their shots.
• 🌅 Strong lighting conditions can enhance phone photography, making the most of the small sensors' capabilities.
• 🖼️ Post-processing is essential for refining images, and using apps like Lightroom can provide more control over the final product.
• ⚫️ Black and white photography can be particularly effective with phone cameras, simplifying compositions and emphasizing form and texture.
• 🔄 Taking time to compose and consider each shot, rather than quick snapshots, can significantly improve the quality of phone photography.
• 👀 Encouraging a mindset of seeing potential photographs in everyday situations can enhance a photographer's skill regardless of the camera used.

Q & A

Why might a photographer choose to shoot with their phone despite having high-quality cameras?

A photographer might choose to shoot with their phone because it is always with them, it doesn't make them stand out, and its limitations can actually enhance creativity by forcing them to focus on composition, lighting, and storytelling.

What are some of the drawbacks of using phone cameras for photography compared to traditional cameras?

Phone cameras have small sensors that produce less sharp images with added digital sharpening, can be difficult to use in bright light due to screen visibility issues, lack a viewfinder, and do not have tactile buttons, making them less pleasant to shoot with.

What is one of the 'superpowers' of phone cameras as mentioned in the script?

One of the superpowers of phone cameras is their ubiquity; people always have their phones with them, making it the default camera for capturing spontaneous moments.

How can the limitations of phone cameras actually benefit a photographer's creativity?

Limitations can force photographers to problem-solve and work within certain parameters, which can enhance creativity by focusing on the fundamentals of photography such as composition, lighting, color, and storytelling.

What is the significance of the 'decisive moment' in photography?

The 'decisive moment' refers to the critical instant when a photographer captures the perfect composition and timing of a scene, which is a fundamental aspect of creating impactful images regardless of the camera equipment used.

Can you provide an example of a professional photographer who has used a phone camera to create notable work?

Kathy Ryan, who has been the director of photography for the New York Times Magazine for over 30 years, created the series 'Office Romance' using her phone camera, demonstrating that high-quality work can be achieved with a phone.

What are some practical tips provided in the script for improving phone photography?

Some tips include cleaning the lens, using grid lines for composition, downloading Lightroom for more control, shooting in raw, looking for strong lighting contrast, and experimenting with black and white photography.

Why is post-processing an important part of the photography process mentioned in the script?

Post-processing is important because it allows photographers to enhance their images and achieve their vision more closely, especially when shooting with equipment that may have limitations, like phone cameras.

What is the advice given in the script regarding shooting in different orientations with a phone camera?

The script suggests shooting both horizontally and vertically, and not being limited to the native aspect ratio of the phone, as changing the orientation can change the balance of the shot and make it more compelling.

How can the small size of a phone camera be advantageous for certain types of shots?

The small size allows for unique perspectives by getting the lens very close to surfaces and objects or shooting through small gaps where larger lenses would not fit.

What is the final piece of advice given in the script for improving photography skills with a phone?

The final advice is to take your time when shooting with a phone, to look for interesting scenes and moments in everyday life, and to practice seeing potential photos in the mundane, which can lead to capturing a masterpiece.

Outlines

00:00

📱 Embracing the Limitations of Phone Cameras

The script begins by acknowledging the various types of cameras photographers may own, from full-frame to medium format, and their high-quality results. It then questions the rationale behind choosing to use a phone for photography, given its apparent limitations such as small sensors and lack of physical controls. However, it argues that the ubiquity, inconspicuousness, and limitations of phone cameras are their strengths, as they force photographers to rely on their skills rather than technology. The importance of composition, lighting, color, storytelling, and the decisive moment is emphasized as the true determinants of image quality.

05:00

🎨 The Artistic Potential of Phone Photography

This paragraph introduces Kathy Ryan's project 'Office Romance,' which showcases the creative possibilities of phone photography. Ryan, a photography director for the New York Times Magazine, used her phone to capture the interplay of light and shadow on the exterior of the New York Times building. The images, often in black and white with minimal color palettes, convey a sense of tranquility contrasting the bustling city life. The script suggests that the simplicity of phone cameras can enhance creativity by focusing on fundamental photographic elements and seizing opportunistic moments.

10:02

🛠️ Practical Tips for Enhancing Phone Photography

The script provides a list of practical tips to improve phone photography, starting with cleaning the lens to avoid hazy photos. It suggests treating the phone like a camera by adjusting screen brightness, using grid lines for composition, and utilizing apps like Lightroom for professional mode and RAW shooting. The importance of post-processing on a computer for more control is highlighted, along with the benefits of strong lighting contrast, shooting in different orientations, and converting images to black and white for a more forgiving and artistic look.

15:03

🔍 Exploring Abstract and Creative Approaches with Phone Cameras

Continuing with the theme of creativity, the script encourages photographers to explore abstract photography and consider their frames as a balance of color, shape, and form. It advises taking advantage of the phone's small size for unique perspectives and using filters for creative effects. The importance of finding interesting scenes and taking time to compose a shot is emphasized. The script concludes by advocating for the discipline of using a phone camera to improve photographic skills and the potential for capturing a masterpiece with such a device.

Keywords

💡Full frame camera

A full frame camera refers to a digital camera with a sensor size that matches the dimensions of a 35mm film frame, which is approximately 36mm by 24mm. The term is significant in the video as it sets a benchmark for high-quality photography equipment. The script mentions this to contrast with the limitations of phone cameras, emphasizing that despite the advanced technology in full frame cameras, photographers may still opt for the convenience and creative challenges of phone photography.

💡Depth of field

Depth of field (DoF) is the distance between the nearest and farthest objects in a scene that are in acceptible sharp focus. In photography, a thin depth of field is often sought after for its aesthetic quality, blurring the background and making the subject stand out. The video script discusses how advanced lenses can achieve this effect, but also points out that the tiny sensors in phone cameras result in a larger depth of field, which can be a creative limitation.

💡Leica camera

Leica is a brand known for its high-quality cameras and lenses, often associated with professional photography and distinctive color reproduction. The script uses Leica as an example of a type of camera that produces 'stunning images with those Leica colours,' highlighting the brand's reputation for image quality and the emotional impact of color in photography.

💡Sensor size

Sensor size in a camera determines the amount of light it can capture and affects the image quality, depth of field, and low-light performance. The video script points out that phone cameras have 'tiny little sensors,' which is a key factor in their image quality compared to larger sensors found in DSLRs or mirrorless cameras. This concept is central to the discussion on the limitations and creative opportunities of phone photography.

💡Digital sharpening

Digital sharpening is a post-processing technique used to enhance the contrast along the edges of objects in a photo, making them appear clearer. The script mentions that phone cameras 'add a load of digital sharpening to correct' for the softness caused by their small sensors, illustrating a common trade-off in phone photography where image processing is used to compensate for hardware limitations.

💡Viewfinder

A viewfinder is a device used in cameras to see the scene or subject being photographed. Traditional cameras have optical viewfinders, while digital cameras may have electronic ones. The video script notes the absence of a viewfinder in phone cameras, which can make it 'difficult to get a level shot,' emphasizing the practical challenges photographers face when using phones compared to traditional cameras.

💡Tactile buttons

Tactile buttons refer to physical controls on a device that provide a sensory response when pressed. The script mentions the lack of 'tactile buttons' on phone cameras, which can affect the user experience and control during photography. This is part of the broader discussion on the ergonomics and usability of phone cameras versus traditional cameras.

💡Creativity

Creativity in the context of the video refers to the original ideas, concepts, and solutions that photographers apply to their work. The script argues that 'choice is the enemy of creativity,' suggesting that the limitations of phone cameras can actually enhance creativity by forcing photographers to think outside the box and rely on their skills rather than advanced camera features.

💡Composition

Composition is the arrangement of visual elements in a work of art, including photography. It is a fundamental aspect of photography that determines how a scene is framed and presented. The video script emphasizes the importance of composition as a basic principle of photography that becomes even more critical when using the limited capabilities of phone cameras to create impactful images.

💡Lightroom

Lightroom is a photo editing and management software that offers professional photographers a range of tools for enhancing and organizing their images. The script recommends downloading Lightroom onto a phone to use as a camera app, providing 'loads more controls' and the ability to shoot in raw, which can help overcome some of the limitations of phone cameras by offering more flexibility in post-processing.

💡Abstract photography

Abstract photography is a style that does not attempt to represent a recognizable subject but seeks to create visual compositions based on shapes, forms, colors, and textures. The video script encourages photographers to 'go abstract,' using the phone's convenience to capture everyday scenes in a new light, focusing on the aesthetic elements rather than the subject matter itself.

💡Decisive moment

The 'decisive moment' is a concept in photography introduced by Henri Cartier-Bresson, referring to the precise moment when the elements in a scene come together to create a compelling image. The script mentions this concept as a critical aspect of photography that can be achieved regardless of the camera's technical capabilities, including with a phone camera.

Highlights

Different types of cameras have their own advantages, but phone cameras offer portability and convenience.

Phone cameras are not considered great cameras due to their small sensors and limitations.

The ubiquity of phones makes them always available for capturing moments.

Phones are less conspicuous than traditional cameras, allowing for more candid photography.

Limited capabilities of phone cameras can be an advantage by encouraging creative problem-solving.

The most critical factor in image quality is the photographer's skill and creativity.

Working with limitations can enhance creativity by focusing on composition, lighting, and storytelling.

Even with a passable image quality, a photographer can make a shot stand out through skill.

Shooting with a phone can be a valuable exercise to improve photographic skills.

There are photographers creating stunning work on their phones, demonstrating the potential of phone cameras.

The quality of a camera does not necessarily determine the quality of the shot taken.

Different types of photographs have different requirements; some work well with a phone camera.

The story of Kathy Ryan's 'Office Romance' series showcases the artistic potential of phone photography.

Practical tips are provided for getting great shots with a phone camera, emphasizing preparation and technique.

Cleaning the phone lens is a simple yet crucial step for improving image quality.

Using the rule of thirds grid lines can help with composition and alignment when shooting with a phone.

Downloading Lightroom on your phone can provide more control over shooting settings and post-processing.

Strong lighting contrast can enhance phone photography by emphasizing patterns, shapes, and colors.

Shooting in different orientations and aspect ratios can change the balance and impact of a photo.

Converting to black and white can improve the quality and emphasize form and texture in phone images.

Abstract thinking in photography encourages balancing color, shape, and form within the frame.

The small size of phone cameras allows for unique perspectives and close-up shots.

Using filters can enhance phone photography by reducing reflections or altering color tones.

Seeking out interesting scenes and moments can turn ordinary situations into compelling photographs.

Taking time to compose and capture an image with a phone can result in high-quality photographs.

The key to improving photography is practice, and using a phone camera can facilitate that process.

Transcripts

So maybe you've got the latest full frame camera with advanced eye

tracking and lenses that can achieve wafer thin depth of field.

Maybe you've got a medium format digital camera with a host of expensive lenses.

Maybe you've got a Fujifilm X-series camera; lightweight and easy

to take with you.

Maybe you've got a Leica camera that produces

stunning images with those Leica colours.

Maybe you've got a little Ricoh GR camera that fits in your pocket,

but has an aps-c size sensor and produces high quality shots.

Maybe you shoot film.

Maybe you shoot on medium format film.

If you're a photographer, the chances are that you have spent

time and money in accumulating a fantastic camera system.

That produces high quality results.

So why on earth would you ever choose to shoot on your phone?

Well, it’s certainly not, because they're great cameras.

They're not great cameras.

They've got a tiny little sensor that makes these mushy images

that they add a load of digital sharpening to, to correct for that.

They're not very pleasant

to shoot with.Tthe screen’s difficult to see in bright light.

You can't get a level shot with it very easily because there's no viewfinder.

There's no tactile buttons.

In short: Phone cameras are rubbish…

But it's their

rubbishness that's one of their superpowers.

Let me explain.

So there are three great things about the camera in your phone.

Firstly, you have it with you most of the time.

Even if you have a tiny pocket sized camera,

you still have to have thought about taking out with you.

Your phone's one of those things you just have with you by default.

Secondly, you don't look very conspicuous holding a phone.

Well, not as much as you do a camera.

People are really used to seeing people with their phones out.

So you'll blend in more, and that will allow you

to get images in situations where a camera may make you stand out

more, and may make people react differently to you.

Thirdly — and

bear with me on this one — They're very limited cameras.

And what I mean by that is that they're not versatile.

They work ok in some situations, and in others they struggle.

And when conditions are optimal for them, the quality is

only passable, it's not exceptional.

So why is that a good thing?

Because by far the most critical factor in image quality isn't the camera,

it's the photographer and the decisions that they make.

And while having all those lenses, and wide

apertures, dynamic range, intelligent eye tracking, all that stuff is great,

it does do two things: Firstly, it encourages you

to fall back on those things when making a shot.

Secondly — and this is especially relevant if you take multiple lenses

and accessories out with you — it brings a lot of choice.

And choice is the enemy of creativity.

Working to

limitations forces us to problem solve.

It gives us parameters that our creativity has to live between.

When you can't rely on your camera to produce beautiful looking images,

you have to fall back on the most basic fundamentals of creating good photography:

Composition, lighting, colour and tone, storytelling, the decisive moment.

In short: Your skill and creativity

in your ability to visualize an image.

If your image, quality

is going to be passable at best, how do you make your shot stand out?

Even if you can't bear to attempt any serious work with your phone camera

when you could simply take out your Sony or your Canon or your Leica,

you should still attempt to shoot on your phone

because it's a fantastic exercise in improving your photography.

And there are lots of great

photographer out there creating stunning work on their phones.

And it's not about buying the latest iPhone.

All those cameras are just incrementally different degrees of mediocre.

But a mediocre camera

doesn't necessarily mean a mediocre shot.

Because there are different kinds of photographs.

Some rely on high quality equipment, like environmental

portraits shot on a medium or a large format camera.

Some rely on specialist equipment, such as difficult to capture exotic wildlife.

But some types of shots work fine on something as simple as a phone.

Something like high contrast, light and shadow, for example.

Take a look at these shots by Kathy Ryan from her series

Office Romance.

Kathy Ryan has been the director

of photography for the New York Times Magazine for over 30 years.

The New York Times

Building is situated on 8th Avenue on the west side of Midtown Manhattan.

It was designed with white ceramic rods covering the exterior

in order to control light and heat coming into the building.

One day, Ryan noticed the amazing shadows being cast by these rods as sunlight

streamed into a stairwell, so she took out her phone and made a picture.

She shared the image to her Instagram feed,

and this was the start of Ryan's love affair with the relationship

between the new York Times building and the Sunlight,

a project that was eventually turned into office Romance.

The images

evoke an almost meditative sense of harmony and quietness

that feels in stark juxtaposition to the realities of the fast paced,

high pressure world of meetings and deadlines that occur in these offices.

Some images are more figurative, some venture more into abstraction,

but they're all held together by this recurring feeling of stillness and calm.

You can almost hear them: The muffled sound of the city outside,

the quiet hum of the air conditioner.

They're largely in black and white and any colour ones have a very minimal palette.

Yet for me, they evoke a warmth, a sense of contemplation.

And a phone is the perfect camera for a series like this.

These are opportunistic photos,

so something that you carry on you, that requires minimal set up is perfect.

The semi-abstract nature and high contrast look means that these images

don't need to be made on a high-end camera system.

There's no need for a shallow depth of field, for lenses that can resolve fine

detail, for 14 stops of dynamic range, or perfectly rendered skin tones.

These things don't matter here.

What does matter is how carrying a phone with you

makes you think about what images you can make with it.

Working to these limitations forces you to think creatively.

Taking all that choice away focuses your mind.

I was particularly drawn to this shot, and I think this is a great example

of how you can use a phone camera to make an amazing shot.

This is an image of a 612lb window being replaced,

but it's almost balletic in its composition.

The semi-silhouetted figures against this tapestry of rigid horizontal lines,

the way all the people are working together,

and the subtle reference to Joe Rosenthal's Raising the Flag on Iwo

Jima creates an almost comedic contrast between that

iconic war image and the mundanity of replacing an office window.

This image is great,

but it's great because Kathy Ryan knows how to frame a shot, understands light

and contrast, and most critically knows when to release the shutter.

The decisive moment.

These things are enough to make a great shot

with a simple and fairly mediocre camera.

So going out to take photos and only taking your phone

camera can be a great exercise in your photographic discipline.

When we're packing our photography bags, it's easy to worry about all the images

that we might miss if we don't take this lens or that filter

or that flash gun or that full frame body.

But when we actually start to make images, it's easier

to switch your mind into that positive mindset.

And the question becomes less ‘What can't we make without X, Y and Z?’

and more ‘What images can we make if we only use our phone camera?’

Kathy Ryan

and many other photographers have shown us that it's possible

to make outstanding, publishable work with your phone camera.

So with that in mind, here are 13 practical

tips on getting great shots out of your phone.

1. Before you do anything else, clean your lens.

Just give it a wipe.

Ideally with a lens cloth, but you don't have one.

Just do with your T-shirt.

I wouldn't recommend doing that with your high-end, expensive lenses, but

phone lenses are generally pretty rugged.

But too often I see those hazy, washed-out phone photos

because they've been taken through a lens with greasy fingerprints all over it. 2.

Turn your screen brightness up and hold the phone with both hands.

Treat it as much like a camera as you can.

Be aware of where your lenses are located and keep your fingers out of the way,

especially when using those wider focal lengths.

I also recommend putting it in airplane mode to stop people

calling you and interrupting you mid-shot.

3. Switch on and use

the rule of thirds grid lines on your phone.

And don't do it to use the rule of thirds, but because when you're not looking

through a viewfinder, but rather holding your phone screen out in front of you,

it's very easy to miss align or to tilt your phone accidentally.

Use those lines to get your horizontals and verticals nice and straight.

So I'm not advocating that you should always be using the rule of thirds.

But on the flipside, it’s

sometimes good to have a starting point to develop a composition from.

It's kind of easier than starting with no guidance.

It'll just help you get into that mindspace where you’re

analyzing your frame from a compositional perspective.

4. Download Lightroom onto your phone

and use it as your camera by tapping this little camera icon here.

Put it into professional mode

and it will give you loads more controls than your camera app on your phone.

It will also allow you to shoot in raw and stop that nasty automatic

digital oversharpening that so many phones like to bake into your images.

The app is free to download and use.

If you have a Creative Cloud subscription, you can sync your presets

and your photo library, but you don't need a subscription to use it.

Number 5.

So while I just told you to download Lightroom onto your phone,

that doesn't mean that you have to edit your photos on your phone.

Of course, if you want to edit them on your phone, then please go ahead.

But it's just that personally,

I find the tiny screen of fiddly controls not really ideal.

I prefer to concentrate on taking my shots at the time,

and then taking them home and editing them on my computer later.

And if you're using Lightroom through a Creative Cloud subscription,

those images will already be in your Lightroom catalog

when you boot up Lightroom on your computer.

Although personally, I like to use Lightroom Classic or Photoshop over

Lightroom CC.

Post-processing the image is a fairly important part for me,

so I prefer to have a little bit of extra control.

But that's just how I shoot.

There's no right or wrong way.

Your style may suit editing as you go, whatever works for you,

but I feel I can be a bit more objective about my images if I leave a time

separation between taking them and editing them.

Number 6.

Look for strong lighting Contrast.

Phone sensors are tiny, and so giving it something that's easy for you to deal

with, like strong lighting is a good way to get great shots.

Try exposing for the highlights

and pulling down the exposure when you take the shot.

This can look good when there is very hard light, very defined shadows.

It's important to get the image as close to your final vision as possible in-camera

as there's generally not as much latitude for pushing phone images in post.

Look for patterns and shapes cast by hard sunlight.

Look for silhouettes.

Look for strong colours.

Try shooting into the light.

Number 7.

Now, this may seem obvious to a lot of people,

but remember to shoot horizontally as well as vertically.

Remember to shoot in landscape mode as well as portrait.

Also, you don't need to stick to the aspect

ratio your phone takes photos natively in, whether that's 16:9 or 2:3.

You can try and shoot maybe square or 10:8 — that’s

a particular favorite of mine — because it can change the balance of your shot

and sometimes it can make a shot that doesn't really work,

work together very well.

Number 8. Go black and white.

This may sound oversimplified and obvious,

but choosing to shoot in black and white can help greatly with phone images.

Black and white is a lot more forgiving with low quality images.

It can help eliminate those nasty digital colour renditions.

Phones can also generally get quite good close up shots.

When you turn a detail shot

into black and white, it can help emphasize form and texture.

But I'm not in any way saying you should always shoot in black and white.

It's just one way to simplify your thinking process even more,

because with black and white, you're reducing your composition down

even more to just its fundamental

building blocks of dark and light.

Number 9.

Go abstract.

Try thinking less about representing something figurative,

and try thinking about your frame as a way of balancing colour and shape and form.

Now, phones are great for this, if for no other reason than you

carry them around with you all the time, and abstract shots everywhere.

You might see an abstract shot on the bus to work, or

while you're waiting in a dentist's waiting room,

or going up a flight of stairs in a gallery or something.

And it doesn't have to be fully abstract either.

You can start to introduce this practice in your figurative work.

And shooting abstract will help you

learn to balance all the elements in your shot.

It's a great learning process.

Number 10.

Take advantage of your phone's small size.

You can flip your phone

upside down and get your lens really close to surfaces and objects.

You can shoot through small gaps where a bigger lens would struggle.

Number 11.

Try using filters that you already own.

You just need to hold over your phone lens.

So you can use a polariser to eliminate reflections

or get deeper blues in the sky.

A pro-mist can help take away that digital look,

especially with a phone — that's very useful.

You could cut out some coloured gels, cut out a little square

and stick over your lens and then use that as a black and white

filter, maybe a red or yellow.

Number 12.

Look for interesting things, interesting scenes.

If you can’t rely on your camera to make a nice image,

you have to make the image something of interest.

This could be something funny.

It could be something weird.

It could just be a scene where a particular colour has arisen

as a theme, or a juxtaposition between two elements.

Use a photographic frame to alert people to those small, beautiful things

that are too easily missed as we go about our busy

lives.

Finally, number 13.

Take your time.

We're very conditioned to just whip our phones and take a quick snapshot.

And if you're trying to capture that ‘decisive moment’ and it's happening

right now, then that may be the right approach.

But if you're taking a portrait, or you're taking some architecture,

or a landscape, or some detail shots,

take your time to get it right.

So a phone camera wouldn't be my camera of choice.

For the type of photography that I personally like,

it's not really versatile enough, but I do really enjoy the challenge

of shooting with it.

And if I'm honest, I've got a fair few shots from it that I'm really proud of.

And there's one thing I'm sure any photographer will tell you, which is

they'll have been told at some point: “That's an amazing photograph.

You must have a great camera!” which is kind of annoying

because they’ll have spent years

honing their craft, and it's not meant in a bad way

so you don’t want to get defensive and correct them.

So it's always rather

satisfying to be able to say: “Thanks, but I just shot that on my phone”.

But the main reason that you should aspire to shoot good photos on your phone

is because the best way to learn and to improve

your photography is to take pictures.

The more you do it, the better you will get.

So turn those times when you're not going out with a specific intent

to take photos into potential photography sessions.

What images can you make while you're waiting for the bus?

While you're taking your kid to school?

Hanging out the washing?

Waiting for a meeting to start?

Condition

your mind to see potential photos through the mundane, through the ordinary.

It'll make you a better photographer the next time you pick up your camera.

Or maybe even one of those shots you take on your phone

will turn out to be your next masterpiece.

I'll see you next time.