It’s too big to ignore. The number and sophistication of things you can do with an Apple iPhone 4—and now, the iPhone 4S—are too great to allow to vanish below your radar.

As of March, 2011, the iPad 2 joined the i-cam family with the world’s thinest HD camera with the world’s largest viewfinder.

On October 4, 2011 the iPhone 4S joined the kit of image tools with an astounding list of camera and video improvements.

Here are some of the missing elements any serious photographer who happens to have an iPhone 4 / 4S / iPad 2 should know about.

If you see a product or app mentioned here, it’s a good bet that you will be quite pleased with it, even though we may have noted drawbacks, incomplete features or shortcomings. Almost no product is perfect.

Scroll down for our quick response to the iPhone 4 / 4S and iPad 2.

Major iPhone 4S Review Now Here! Click!

New iPad/iPad 2/Movie Mount Here! Click.

Alas, Steve Jobs is gone.

His iPhones and iPads will live on, and he in our hearts.

The software that makes these pages was refined by him. His appreciation of graphic design, text design, typography, calligraphy—showed in the first Macintosh, in every web page, in every ad, in every product, in every letter.

Steve wasn’t a photographer, but the camera he called for—that resides in every iPhone 4 —is the most popular image-gatherer in the world.

He wasn’t a musician, but he brought more music into the world than anyone, ever.

He invented desk-top publishing. He provided the best tools for desk-top music composition and video editing. He made Photoshop possible. He took the yawn out of business presentations. His last project was the iPhone 4S and most of the iPad (3G), and he made sure they were stunning.

His whole life was about bringing creativity to our collective fingertips. Steve, you made the whole Universe a bit more creative. What a tremendous achievement.

Must Read: Steadicam Smoothee. The Killer App for the iPhone 4 / 4S (3GS and iPod Touch and now, the GoPro HD Hero) is not an app at all. It’s a device. 

Made by Steadicam, this is the thing you need to turn your iPhone camera into a worthy shot-gatherer. It’s a camera stabilization device that isolates your iPhone from your wiggling hand.

  1. BulletHere’s some video proof! You can get video like this with a Smoothee.

  2. BulletHere’s what people typically get without a Smoothee. The limitation isn’t the effort or the vision of the photographer. It’s the iPhone.

Click on the image, above, to see a list of Vimeo movies that include the Smoothee Video Manual series. Try to view them in 1,2,3,4 order. The last one is sort of a surprise.

Or click here to read our biased Smoothee Review. Biased? Yes, because we’ve been using the Smoothee for a year longer than anybody else. Since it was a mere proto-sprat. And we made those Smoothee Manual videos for Tiffen/Steadicam.

Smoothee: About $180. Try Amazon.

NEW: Olloclip. Too bad the iphone is stuck at about a 42° field of view. About equivalent to a “normal” 50mm lens on a 35mm slide camera. Oh, wait. Here’s something.

A clip-on, glass-element, wide and fisheye lens gizmo! No way, really? Yes, way.

The Olloclip is a friction-fit grabber that has two optics attached. One shoots a wide angle image about 150% as wide as the native lens. The other shoots a corner-to-corner fisheye (in movie framing) that covers around 90° across the horizontal centerline, meaning more into the fisheye distorted corners. Full fisheye, corner to corner, sees about 130°.

Olloclip cleverly noted something Apple built into the iPhone 4 and 4S as a design element. The camera lens is at the central focus of the nearest rounded corner. Not only did this almost Bauhaus design element look right, it allowed a single, two-sided fixture to center up on the lens in both attachment directions.

The Olloclip only weighs 20.7 grams (0.73 oz), meaning you’ll never feel its weight. It comes with two press-fit lens caps and a soft draw-string bag for pocket or purse carry. Always cap the unused optic. Tip: develop a habit for ALL lens caps in your life. Mine is this: “Always put the cap into my left trouser pocket.”

In practical use, the fisheye image is the one you’ll use least. Corners are notably blurry, and the distortion is harder to inhale, visually. Something we’ve been aware of with fisheye moving images is that the corner detail is really “ambiance” around the area of the picture people are watching. You can get away with fisheye shots with softer corners more than you can with flat shots by a large margin.

The wide angle lens is Olloclip’s strongest option. There is a bit of barrel distortion, but it is manageable for editing into flat shots, and it is kinder to viewer’s eyes.

Minor negatory: The Olloclip blocks the camera’s light. Aw.

Oh, did I mention that there is a Macro option? If you unscrew the front of the wide-angle optic, a 10x close-up lens is buried there, ready to shoot impossibly near subjects. Ants become gi-ants.

The rig is available in black or red anodized metal barrels and either color will cost you about $75 (including least-costly US shipping).

Worth. It.

Update: The Olloclip is entirely compatible with the Steadicam Smoothee, and all the other software we mention, below. Meaning you could shoot wide angle, Filmic Pro-exposure locked, Smoothee-flown images all at the same time...

That trio of items will cost you about $258 plus iPhone, and instantly, your previously cheese-ball camera will do more things well than you ever thought.

Update 2: We’ve tried the Olloclip in a number of situations and are ready to give it the official Seal Of Approval! It works well with the Steadicam Smoothee and with the stabilization program DollyCam, reviewed below.

NEW: Filmic Pro. This is a video/movie utility that promises to lock exposure, lock focus, add color bars, add count-in header, add a custom slate, dial in frame rates and generally improve your movie shooting with framing guides. Alas, it can go horribly wrong. But it only costs $3, so try it out.

UPDATE: A number of our grumbles have been flattened by the programmers at Cinegenics. Now it is Version 2.2.1.

One of its best features is one we wrote about in the past. Instead of showing your shot as a band across the center of the display, as all other movie shooting apps do, it jams the shot against the top of the screen, opening up a more generous band at the bottom for controls and buttons. Nice.

It lets you set any of four three different resolutions from 192 x 144, 480 x 360, 640 x 480 and 1280 x 720. Frame rates go from 1 to 25 in one frame increments, plus 30 fps.

That could get a lot done for cheap. Let’s say you shoot 2 fps at 640 x 480 while pointing your camera at the sky. It’s time-lapse time in the edit program!

New features arrived on September 1, 2011: GPS tagging, a Super-35 mask for wide screen cine frame shaping, the ability (thank God!) to save each shot immediately to the Camera Roll, higher and lower compression choices, uncompressed audio (!), and the ability to throw shots instantly into Tumblr.

After rolling video, you can lock exposure. This will eat the first 3-8 seconds of your shot, but who doesn’t edit? Okay, put your hands down. I get it. Locking exposure would be great, but exposure locking seems to be a Big Hairy Problem for iPhone shooting, and nobody we know has solved it, yet. Update: See Movie Mount, below.

The GO button on Filmic Pro is both obvious and obscure. It doesn’t flash or become obvious enough while filming is occurring in daylight. It simply gets redder when recording is live. This has lost many critical shots for me. It should have been, say, gold before shooting and red-tinged white while filming. Something WAY obvious to signal you that you’re rolling when the screen is washed out with sunlight. You can elect to have shot time numbers show up in red text as the camera records, but in daylight this is completely lost. &^%$#@!

The count-in graphics are nice. They also are a pain in the ash to sit through. Make one shot with the count-in, and use that in editing. Same goes for the color bars. You will grow to hate the slate unless you are shooting a complex, professional project. Then, you will love it.

Graphics on-screen show a focus zone and exposure zone. Buttons let you lock focus, exposure and white balance. Except that only focus and white balance respect being pre-set. Exposure can only be locked AFTER the camera is rolling. And the change of states that show the locking are preciously dim, and easily ignored in bright light. Turning the whole button to, say, green, yellow, blue, white or flashing would have helped enormously. Sadly, when you stop a shot, all exposure lock is completely lost.

If you shoot indoors, much of our criticism is diminished. We shoot with Filmic Pro since it represents an improvement over Almost DSLR (below), but have been disappointed with the daylight performance of both.

Perhaps some bright person will tackle the problem of daylight shooting ergonomics and button brightness-improved with fresh eyes? Thus helping, rather than gate-keeping, the process of daylight shooting.

Bonus: Also works with the iPad 2.

iPhone 4S Update: This is a big deal. The FiLMiC Pro achieves all LOCK functions the way you want, but only on the iPhone 4S, so far. Separate WB, Focus and Exposure locks can be set BEFORE recording video, and where the iPhone 4 won’t lock exposure prior to recording, the 4S does it.

Also, the settings to record 720p30 fps (but not slower speeds) in the iP4S. You can’t use FP to record in 1080p, yet, but it does a superior job of scaling to 720p.

In-app processes are dicey. Play with them.

DollyCam. This is a $3 app that post-processes movie clips while applying a standardized degree of motion steadying to the image. It will work with files it generates but not files that are already in your photo library.

Conversion to stable takes about eight times the running length of the shot, and while it is processing a clip, your iPhone (or iPad) is a brick completely tied up.

As you shoot, you only see the center 3:4 aspect middle of your 720p30 image. Ahem.

The final result is somewhat like the Stabilize feature of iMovie, which can be added in editing. iMovie will cost you $15 for your Apple computer, but its process is tuneable and helps correct rolling shutter effects by amounts you can control.

The Big Deal difference with DollyCam is that it records the moment-to-moment gyroscope and accelerometer data as the shot is being recorded, then applies THAT to the process of post-stabilizing the shot. Clever? Yes. Enough? Buy it and try it to find out.

Caveats include:

  1. BulletNot real-time. Understandable, considering.

  2. BulletShots made in dim light will not lose their motion smear and will be somewhat unpredictable. Understandable.

  3. BulletFinal 720p images DO come up in correct 720p. But not while being shot. You only see the center 3:4 aspect chunk of the scene as you shoot. (&^%$#@!)

  4. BulletNo batch processing. You can’t post-stabilize a bunch of shots after you shoot a bunch of clips.

  5. BulletWorse: You must MANUALLY trigger the stabilization process for shots one at a time. No automatic processing during space cpu cycles. Only then can you proceed to the next clip. A major time-waster. (&^%$#@!)

  6. BulletNo automatic transfer to your Camera Roll file after processing is finished. We want both the original and processed scenes to show up in our Camera Roll, code-identified as to which is which, for later editing. (&^%$#@!)

  7. BulletNo way to shut off the camera’s incessant refocusing and exposure jumps. (&^%$#@!)

  8. BulletNo processing of existing clips from your Camera Roll. (&^%$#@!, but understandable, since these don’t have the recorded accelerometer data in them.)

  9. BulletRolling shutter artifacts are reduced. (Yay!)

  10. BulletWorst. Camera. In. All. iPhone-dom. If DollyCam and Almost DSLR were to combine forces, this could become a KILLER APP. As it is, it just causes a few sneezes.

  11. BulletWorks better—BETTER—with an iPad 2. No incessant refocusing, for one thing. (Sort of Yay!)

Clearly, this is an app that is unfinished. It is frustrating to shoot 20-30 shots, then have to hover over the iPhone to complete them and save each one for an hour or so.

Recommendation: Buy it and try it. It’s worth the $3 novelty value. Then save up and get a Steadicam Smoothee for a real camera stability, real-time device.

Update: 8.20.11. In a lengthy test using an iPad 2, we found that processing is only about 3.25X real-time. The faster processor of the iPad 2 cuts some of the bite out of waiting for your shot. In our case, the exactly 2:00 shot took just 6:32 to convert.

DollyCam with iPad 2. Testing 1, 2, 3...

By limiting the above test image to the iPad 2‘s less-flexible camera, the final results are notably better than you usually get from an iPhone 4 because there is no refocus-pumping in the image.

And if you have a Steadicam Smoothee, you’re much better off shooting with Filmic Pro or Almost DSLR than corrupting your shot through the poor camera—and small extra improvement—that comes with DollyCam.

Will it work with the iPhone 4S? NO! NOT YET!

SteadyLens by elyxa. SteadyLens was another $3 stabilization app for the iPhone 4. When it first appeared, they called it SteadyCam and found out through legal channels (!) that the people who own the trademark Steadicam™ also own the trademark, Steadycam™ and they love to protect their intellectual property! Oops!

Previously we thought it useful, but the developers downgraded it to being a filter program with only standard-definition stabilization. It is now junk.

UPDATE: This app is now renamed Luma. Stay away.

NEW: Movie Mount. You can’t beat the cost of this app. At completely FREE, it is the least expensive (and most effective) app/camera for your iPad 2 in existence.

Made as an accessory for the Makayama Movie Mount iPad holder/tripod mount, it has one endearing and beautifully executed feature that stands apart from all of the other camera apps you an use in an iPad:


Why the other app developers missed this, I can’t say. But with the Movie Mount app, you can lock exposure and look around to see how that plays on the big screen, then reframe to the view you had when you locked the exposure and roll video. Now, as you pan around or move into new lighting, your exposure remains the same as it was in frame #1.

The magic puzzle piece seems to have been a line of code something like this:

  1. On Record Start, instantly lock the current exposure settings.

Okay. I can understand a programming step like that and have wondered why nobody went for it. Well, now they have.

Other programs that promise to lock exposure only do so if you touch their exposure lock icon AFTER you roll. With Movie Mount and the exposure-lock active, when you start recording, the current exposure is memorized at that instant, staying locked during the whole shot (unless you manually turn it off during recording).

No, it won’t work in an iPhone. iPad only.

Oh, about the Makayama iPad 2 Movie Mount camera case? We will let you know when ours arrives.

App Must-Haves for the iPhone 4 AND iPad 2:

Almost DSLR by Rainbow Silo. $1.99 in the App Store. There are two versions of this program; a free one to try out that works with Rainbow Silo’s previous version 1.2.2, and the latest, greatest, no-advertising version for two bucks that currently is V 1.3+.

Splurge. Spend the two bucks. It will be the best two dollars you could ever throw into your iPhone 4’s still and video cameras. Unless you opt for Filmic Pro (above) and spend the extra buck.

Features you will use every time you fire up the camera include:

  1. BulletThe ability to lock Exposure (after record start).

  2. BulletThe ability to lock Focus.

  3. BulletThe ability to lock White Balance.

  4. BulletThe ability to lock fill light presence (camera’s light / torch).

In addition, there are on-screen buttons for other handy changes:

  1. BulletA button to flip cameras front and back.

  2. BulletA button to turn mirror viewing off and on.

  3. BulletA button to turn framing grids on and off.

  4. BulletA button to control pinch and squeeze for different aspect ratios.

  5. BulletA button to jump to the Library to review shots.

  6. BulletA button to make the other buttons fade away out of sight.

I don’t think Apps for the iPhone will ever give precise numerical settings for shutter speed. Exposures are controlled strictly by shutter speed. Some have reported the lens as being f/2.97 on a lens with a focal length of 3.85mm. This means that while the camera always shoots wide open, shutter speeds get mighty quick in full sun. Indoor shooting leads to nicely motion-blurred frames that look more cinematic and less “combat camera-ish”.

As a practical shooting technique, Almost DSLR lets you double tap the screen to indicate the fingertip area for focus and exposure. You may have to try a few places in the image to find a good exposure AND focus point. The focus is not so much of an issue, since the iPhone 4 has depth of field equivalent to about f/22 on a 30mm lens on a 35mm film or full-frame camera.

In sunlight, many of the handy features of Almost DSLR evaporate. You can NOT read the tiny, transparent buttons and their precious, thin-line text. You don’t know if you are rolling or not, for sure, or what has or has not been implemented for this  current shot. Grumble, grumble. Indoors it works much better.

Exposure, focus and WB locking MUST be accomplished AFTER the camera starts shooting. Grumble, grumble.

Many of its features work with the iPhone 3GS, iPad 2 and iPod Touch.

Will it work with the iPhone 4S? Stay tuned.

TimeLapse by xyster.net. $1.99 in the App Store. Currently in V 4.2, this is the best of several time-lapse programs in the App Store. Intervals range from Fast As Possible to 1 shot every 24 hours.

I would guess that the number of people shooting 365 exposures per year is minimal. But the real fun is in the 5 seconds per interval range. At that timing, clouds dance and city streets are full of crazy.

TimeLapse is distinguished by some of its features that are unique to the program. You can, for instance, choose the size of the resulting video. In my case, that’s always 720p30, but you can make the frame rate 5, 10, 15, 24 or 30 on demand. You can also save every frame as a still image for later animation on your computer.

Tip #1: Use QuickTime Pro ($30, Apple for Macs or PCs) and follow the File > Open Image Sequence > (select the lowest-numbered frame in a folder of frames) > (Select a frame rate from 1 every 10 seconds to 60 fps) and blink once while QuickTime pulls the shots together into a movie. QTP is fast working, flexible and will make movies as large as your original images.

You could, for instance, shoot 18 MP Large frames with a DSLR or HDSLR, and QuickTime Pro would dutifully pack them into an 18 MP movie. Suitable for IMAX.

With the iPhone 4, the maximum frame size is 2592 x 1936 pixels; substantially above the 2K movie frames that are captured by the Red camera at its 2K setting. Not that the iPhone is a competitor, but it’s an indication of how detail-rich a QTP+iPhone 4 shot can aspire to be.

TimeLapse can be set for from 1 to 10,000 frames. The setting for just one frame is trivial, but shows up when you set frame count to 0000. You get 10,000 frames when the count is set to 9999. Meaning that if you set the shot number to 150, you’d get 151 frames.

Tip #2: You may elect to save frames as Large (maximum frame size), Medium (1296 x 972) or Small (640 x 480). Choose Medium. These are slightly wider than 720p frames but you can tell QTP to spit out the movie as a 1280 x 720 frame with correct aspect ratio maintained by the choice “Crop” in the Size menu item. That shrinks the frames slightly and produces a perfect time-lapse scene at your frame rate of choice.

Here’s one now shrunk to column size from its pristine 720p intermediate:

As soon as the camera stopped shooting, I could review the shot on the iPhone 4. But in QuickTime Pro, I was able to specify 24 fps and the crop to 16:9. A second pass let me export this 600 x 337 file and the size is only about 1.3 megabytes here.

Saving all the frames to the Library is an option, not a commandment. For any critical work, I always follow that as a workflow because who knows what it may become? The program shoots faster when it isn’t burdened with saving each shot, though, so you can get shots as quickly as about 1 per second if you tweak the program just right.

Something to watch out for: If you shoot—as I tried—a scene in which most of the pixels are completely different, frame to frame, the in-iPhone compression may spit out a blocky, indistinct movie. QuickTime Pro avoids this.

Tip #3: If you shoot with the Large saved frames, QTP will animate the shot as a 2592 x 1936 pixel movie. Too big to see on your computer screen. But you can import this giant moving image into many editing programs and crawl over its surface as a Ken Burns effect, panning around inside the frame. If the output is 720p, you have a 2+ power zoom available for reframing, or for giving a slight tele effect to the image.

As you can see in our example, the exposure is not locked. We have mentioned this to the developer and hope that future versions will implement this as a feature. UPDATE: The developer says there is a focus and exposure lock, but we have not been able to implement it without on-screen verification graphics.

But even in the current version, one of the options is Smoothing. This blends adjacent frames together somewhat, and that tends to even out the exposure differences. Unfortunately, the blending process reduces on-screen detail by a considerable amount. We avoid this.

Another option, Double Shot, takes two exposures per frame and combines them 50/50. Net result, as far as we can tell, slight tonality evening for non-moving subjects and a double exposure effect on every frame. Even the saved ones. That tends to look like a tiny bit of motion smear on slow subjects, like clouds, but enhances fast movement with the doubled motion impressions. Use it for shots played back at 15 fps, and viewer impressions will be that smoother motion is being seen. A nice alternate.

What would be nicest would be having the Double Shot process create an exposure-locked HDR image with every frame. Wish on...

Still, this is a premium time-lapse gathering program and an app for the ages.

Will it work with the iPhone 4S? Quite well. Get it.

Major Tip: Get a Tiffen Steadicam Smoothee camera holder for your iDevice. It costs only about $25 from Amazon, and it is the surest, securest iPhone 4 / 4S, iPhone 3GS or iPod Touch tripod clip you can get. Or just get the whole rig for around $180, including the clip. Separate clips for each camera.

Now, a camera clip to mate a GoPro Hero HD is available. And the new GoPro Hero 2 works with it as well.

Included on the iPhone 4:

5 Megapixel Image. The image chip makes a 3:4 aspect image with 2592 x 1936 pixels. Meaning a 5,018,112-pixel image.

Each pixel is a 1.75µm square. Sensitivity is good enough from bright beach sun to casually-lit incandescent interiors. White balance automatically settles into approximately the right places most of the time.

You can tap on the preview image to force the camera to focus and expose for that area, and that’s good enough for many stills, but wait, there’s more...

Two-shot HDR. By setting the still camera function to HDR > ON, you cause the camera to shoot two fast images at different exposures. One normal; the other darker by about two stops. Two images, a normal and HDR-processed photo, will appear in the Library if you set that feature.

In most cases, you’ll want to throw away the normal image later. It will usually have bleached white highlights and appear quite contrasty. But sometimes it will be the superior shot. The HDR picture will have much greater tonality and slightly less grain in dark areas.

Movie Files Are 720p30. They look better than they have any right to. Exposure is controlled strictly by shutter speed, and the iPhone does not have a native ability to lock exposure—so it floats all over the place in response to the brightness of subjects crossing through the frame. Ugh.

But in even light, it looks fine. Images have a slightly contrasty, “movie” look to them, and, as with stills, you can tap on a subject to cause the camera to both focus and expose for a small area of the shot, but you can’t make it stick.

We prefer to target a bright area, slightly underexposing the shots. Your preference may vary.

Fortunately, some of the software Apps you can get for the iPhone will stick the exposure.

Included on the iPhone 4S:

8 Megapixel Image. The image chip makes a 3:4 aspect image with 3264 x 2448 pixels. Meaning a 7,990,272-pixel image. That’s just 2 pixels shy, in each dimension, of a pedantic literalist’s 8 million.

Phil Schiller calls it enough for an 8 x 10 print. Way underestimating its true potential. At 175 ppi (National Geographic’s page screen) you’d get an 18.6 x 14-inch print. Tabloid printer needed to show off the iPhone 4S output.

The lens has gone to five elements and f/2.4. Macro focus is improved. It still works with the Olloclip (above).

Each light sensor is a 1.5µm square. The custom chip by Sony is a Backside-illuminated CMOS, meaning that each pixel surface is much larger than on the chip of the iPhone 4 even though it has 60% more sensors. Sensitivity is good enough from bright beach sun to dimly-lit incandescent interiors. White balance has been improved to retain natural lighting effects without over-compensating.

Facial recognition is now a focus targeting technique.

Three-shot HDR. By setting the still camera function to HDR > ON, it now takes 3 fast images at different exposures. Under, over and center-exposure improving the camera’s dynamic range by 4 extra stops. Two images, a normal and HDR-processed photo, will appear in the Library if you set that feature.

Movie Files Are Now Stabilized 1080p30. Full maximum broadcast HD. Colorimetry and tonal dynamics are improved. Exposure is controlled strictly by shutter speed. With Stablilzation ON, the camera performs real-time stability and rolling shutter adjustment in a way similar to the DollyCam software (above).

Dual Core Processor. Image signal processing vastly improved.

Fast-access to camera without booting the whole iPhone from sleep—still and video.

AirPlay lets you transmit your shot to a nearby Apple TV or computer or iPad by WiFi. Or send it back to your computer right away.

Major iPhone 4S Review Now Here! Click!

Included on the iPad2:

0.9 Megapixel Image. The image chip makes a maximum 16:9 aspect image with 1280 x 720 pixels. Meaning a 921,600-pixel image, or 0.9 MP. If the image is shot with Apple’s on-board still camera, the resulting file is only 960 x 720 pixel image in 3:4 aspect, or 0.7 MP. To get the larger still image, you’ll need the Almost DSLR app (above).

Obviously, the super thin frame of the iPad2 can’t handle a multi-megapixel image camera, as we have seen with the similarly super-thin iPod Touch, which reports the same image constraints. No doubt future iPads will have more camera power. Hopefully, into the 6+ megapixel range. Then they will be like having an 8 x 10 view camera 13mm thick. Dream on.

One bit of good news: The iPad2 HD image is also 1280 x 720 pixels and can be steered to shoot better images than the iPhone 4. But for that, you’ll need the FiLMiC Pro app (above) or this -->

Recommended: The Movie Mount App from Makayama.

Notes: The hyperfocal-set iPad2 lens is HD sharp from about 6 inches (150mm) to infinity. And never disrupts a shot with an inappropriate re-focus adjustment.

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