THE CAMERA ON THE IPHONE 14 AND 14 PLUS IS MORE THAN ENOUGH FOR MOST The more cheap iPhone 14 and 14 Plus get the (somewhat) short end of the stick when it comes to camera features as Apple divides its iPhone line into two branches. They are fairly capable for imaging and video, so that’s fine.
The “ordinary” iPhone 14 models have twin cameras, one with an ultra-wide view and the other with the traditional wide angle (26mm), which has become the de facto standard view for smartphones, just like the iPhone 13 models. For FaceTime calls and selfies, the front-facing selfie camera uses an f/2.2 lens.
: The Apple iPhone 14 Lineup in-depth review This year’s action mode is brand-new. The feature, which is aimed squarely at action cams, claims to capture smoother video in typically shaky circumstances. The resolution is just 2.8K60 since the lens’s field of vision is cropped in order to improve it with digital stabilization. Similar methods have been used by standalone cameras to stabilize handheld footage. The method is employed by Sony’s ZV-E10 vlogging camera, which also crops video to do so. Apple may be trying to compete with GoPro with this new function, but adventurers are still better off using a ruggedized Hero10 Black with its excellent stabilization and 5.3K60 video specification to capture their journeys.
IPHONE 14 PRO AND 14 PRO MAX: QUAD BAYER IS EMBRACIATED BY APPLE This year, the cameras of the standard iPhone 14 and the 14 Pro are significantly different from one another. Initially, the evident A triple rear camera is included in the 14 Pro and Pro Max. A macro setting is added to the ultra-wide lens that is absent from entry-level phones. A 3x telephoto lens, which has the same field of view as a 77mm lens on full-frame systems, is added to the primary lens as well. (Yes, there are 77mm lenses.)
Hands-On Night mode, Portrait mode, and Cinematic bokeh are all computational features that the 14 Pro and Pro Max share with the standard iPhone 14. For stills, raw capture is added. For four times as much editing headroom as an 8-bit JPG and twice as much as a HEIF, the Apple ProRaw format enables 48MP photographs with 12-bit color.
Additionally improved are its video features. For creators who wish to use 10-bit color and more flexibility when editing video and color grading in Final Cut Pro, ProRes 422 recording is an option. I will caution anyone interested in purchasing a 128GB capacity device, though. Apple restricts ProRes for the least capacity model to 1080p30. ProRes 4K is available if you upgrade to 256GB or higher, which is presumably what you desire. Support for USB-C SSDs for external storage would avoid the problem, but Apple is still sticking with the Lightning port, so producers who want 4K ProRes would need to pay for additional storage up front. This is one major drawback of Apple’s walled garden.
MORE PERFECTION THAN CREATIVITY The specs and feature lists for the iPhone 14 are as great as ever, but I’m looking forward to using them and seeing how they perform in the real world. The basic 14 models of them now include several useful features that were only available on the 13 Pro handsets from a year ago; sensor shift stabilization being the feature that makes the biggest difference for everyday imaging. We’ll be on the lookout for Gen Z filmmakers to adopt the Cinematic mode because, for video, 4K will look far better on a huge screen than 1080p.
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