” OH SURE, I USE MY PHONE SOMETIMES“, you still hear hide-bound photographers grudgingly admit, “but when it’s important, I use my real camera.” This snotty, down-the-nose belief that only the cameras of one’s early experience can be regarded with any degree of respect or deference persists, runs against the grain of all reason. It’s a ridiculous statement, born of equal parts arrogance and ignorance, an insane notion that only some kinds of cameras can produce important images. Yeah, yeah, and only a Cadillac can drive you to the drugstore.
As the global dominance of the once-mighty DSLR recedes further into the twilight, it’s not even necessary to take sides on which piece of equipment is better, more relevant, more “real”. That’s falling into the same mental pothole of those who refuse to accept the mobile camera as a true instrument. Once and for all: shoot what you want with what you want. But please don’t pretend that the revolution isn’t happening. The very definition of what a camera “is” has been raging for nearly twenty years at this writing, and the weight of the evidence falls predominantly on the side of change, not tradition.
Big-time disclaimer department: I usually don’t cite current consumer stats in any of these posts, since blog archives are forever and ever-twisting trends quickly make liars out of all prophets. But in this case, I’ll just front-load the figures that follow with a few hefty qualifiers. The rankings below, listing the top camera brands and models for a very specific market, are extracted from user numbers for contributing photographers on Flickr, one of the biggest photo sharing sites on the planet as of the first week of November, 2016, which is when I compiled these abstracts. The list presented here lists the top ten most camera makes and models from that time. In order of popularity, then, the ten most used cameras by Flickr members this week are/were:
Apple iPhone 6
Samsung Galaxy S6
Canon EOS fD Mark II*
Sony Xperia Z3
Motorola Moto X
The asterisks denote the DSLR cameras on the list. The other remaining models are cellular-phone based. All ten of these manufacturers have multiple models that were ranked among Flickr members’ most-used cameras, but what you see here are the top-ranked models within each brand. There were several venerable DSLR manufacturers that made the top 20, such as Pentax (#11), Leica (#16) and Ricoh (#17). As another point of comparison, the highest ranked mobile, Apple’s iPhone 6 accounted for over 518 million items on Flickr with over 19,000 daily users, with the highest ranked DSLR, Canon’s EOS FD Mark II accounting for 138 million+ items and over 3,200 daily users.
The number one selling camera, as I like to say, is the IMHO (In My Humble Opinion) Model 1. Brand loyalty for its own sake is beyond over with. So is format loyalty or lens loyalty. There is only what works. You can drive that Cadillac to the drugstore, but the Prius gets better mileage and may even boast superior crash specs. With cars as with cameras, drive what turns you on.
Just get where you’re going.
By MICHAEL PERKINS
SOMEONE HANDIER WITH A SLIDE RULE THAN ME RECENTLY OBSERVED that the raw numerical totals, on photo sharing sites, had shifted in favor of mobile images over those taken with more conventional cameras. In other words, the war was over, and the phones had won, at least in the sheer tonnage of uploaded images. Not sure that I yet regard that assertion as divine revelation, but the fact is that, as mobiles become a bigger component of overall photography, a second shift in technique will also continue, that between conceptualizing and compensation.
By conceptualizing, I mean the system, for traditional photographers of planning their shots before the shutter clicks, choosing settings, pre-editing the composition in the frame, any kind of advance prep. By compensation, I mean the emphasis, with mobiles, on adding filters and fixes after the click, technically learning how to make the most of what you were able to get.
One rather fun element I like to play with at present is the two approaches to high contrast black & white, especially the “black sky” effect which can force foreground objects to pop with greater drama. Shooting out in the Arizona desert for years, I have more frequent use for this effect than I might in more, well normal areas of the country. Traditional approach to this with a DSLR, of course, is the attachment of a red filter. You have to grope around for the right exposure, since you might lose the equivalent of two stops of light, depending on the situation, but it’s a great look. So that’s for us “conceptualizing” folks. See an example up top of the page.
The “compensation” peeps, who might have done their original shot on a phone, in color, is often referred to in apps as “red sensitivity” which adds the dark-sky look as it converts the shot to black and white. Usually you can only tweak the intensity of the effect (sometimes brightness as well), but it delivers a fairly good facsimile of the DSLR’s red filter, albeit with a little black lint kind of texture to the skies that you can usually get rid of with a noise reduction slider in your computer. The results, as you can see off to the left, are fairly acceptable.
If you’re shopping for filters beyond those in your own camera native app, consider adding one that includes red sensitivity. It’s one more “compensation” tool that’s nice to carry in your back pocket.