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Although most all photographers are concerned with creating realistic images that copy everything as an accurate representation of a subject, in view of the fact that we are so familiar with these types of photos, when a photographer or graphic designer uses a special effect, the results are far more eye-catching and impressive. Some effects take time and a great deal of technical knowledge to achieve — however, there is much that can be achieved with little to no real technical expertise. As you manipulate photographs to create the effects you want, you will learn and become more confident to try new things.
Photo by limeabeans; ISO 100, f/2.8, 1/200-second exposure.
Changing Perspective
When we look at a subject from an angle that we would not normally view, our brain uses our special awareness to give proportion and scale to the subject. However, when we take a photograph of the subject from the same angle, the result appears odd and even distorted. This is due to the fact that the photograph is a two-dimensional image of a three-dimensional subject. For example, if you take a photograph of a person reclining on a chair with their feet outstretched toward the camera, the feet appear to be oversized and out of proportion to the body; this effect is accentuated when a wide angle lens is used. Normally, we would avoid such a distorted perspective, but it can produce stunning effects and interesting images when the subject material is correct.
Using Reflections
Using reflections is an excellent way of creating simple but eye-catching effects in photography. There are many reflective surfaces that can create interesting and creative images — from still, quiet reflections on a lake to the polished chrome of a motor vehicle. Reflections offer a simple way of making visually interesting photographs.
Photo by Bob Jagendorf; ISO 200, f/4.8, 1/90-second exposure.
Implying Motion
One of the most common problems with photography has always been camera shake. Due to low light conditions and a slow shutter speed, the image produced is blurred. The distortion caused often completely ruins the photograph, but it is possible to use the slower shutter speed to capture an image that is deliberately blurred to create the effect of movement. This is most commonly seen in photographs of waterfalls, where the slower shutter speed gives the illusion of flowing water as opposed to freezing the movement.
When photographing a moving subject, such as a runner or a racing car, it is possible to use a slower shutter speed while you pan the camera and track the movement of the subject, thereby creating the illusion of movement, because the background is blurred but the subject remains in focus as the camera tracks its movement.
Using a slower shutter speed in combination with flash can also be useful when photographing a subject at night. For example, if you’re taking a portrait at night and the background is poorly lit, using flash will illuminate the subject, but the background will completely disappear, as there is insufficient light to expose the image’s background. Placing the camera on a tripod and using flash with a slower shutter speed will allow the correct exposure for the foreground with a flash illuminating the subject.
Using Filters
Another simple way of dramatically changing the look and feel of the digital image when using a DSLR camera is the use of filters. There are a range of filters to choose from, and it is worth remembering that filters are by far the most affordable way to extend your creativity. Single and multicolor filters are effective for controlling the appearance of a landscape by dramatically altering its hues to generate a different view. By using filters to change the color and quality of light, you can manipulate the mood of an image without making it look obvious that any kind of manipulation has taken place.
Photo by Chris Gin; ISO 100, f/8.0, 35-second exposure.
Diffusion filters, neutral density, circular polarizing, starburst or diffraction filters, and UV filters all help to improve or change the look and feel of an image. Graduated filters, with a colored half and clear half, add drama to landscape photos. Filters that radically transform the image need a very careful choice of subject matter to avoid simply looking gimmicky. Filters are not a substitute for creativity; however, with time and practice, they can help you produce creative effects that will enhance your basic subject, from a landscape to a beautiful wedding venue.
A starburst or diffraction filter may enhance the brightness in the reflected light, creating a sense of sparkling. A starburst filter has tiny little groves in it that spread light from the bright highlights into the darker areas of the photo. A diffraction filter is similar to a starburst filter, but instead of stars, those bright points of light are turned into colorful streaks or halos that contain all colors of the spectrum. Different diffractions give different results. The effect you get with these types of filters depends on the focal length of your lens and the aperture you are using. Experiment by taking several different photos using different apertures, and pick one which you think has the most effective overall result.
Photo by Fiona Shields; ISO 64, f/4.0, 1/210-second exposure.
Post-Processing
The most common way that people manipulate digital photographs today is the use of special photo editing software, such as Photoshop. There are a number of free software packages available, such as GIMP. The true value of photo editing software will only become apparent as you learn to use the various tools available. There are, however, a number of simple and basic tools that can help enhance your photographs.
It’s easy to change the levels, hue, and contrast, saturation, and sharpness. However, when faced with new software, it can be extremely daunting to begin to use a program that you are unfamiliar with. There are a great number of tutorials that can be watched free of charge on YouTube. YouTube is a greatly underestimated resource for learning new photo manipulation techniques.
Once a photographer has mastered the basics of how to achieve the intended visual effect, there is no limit. As the photographer begins to shape images creatively, it changes the way he or she understands and views the world. As a photographer, I often photograph weddings, and I use both filters and photo manipulation software to change and enhance the original image. By simply changing some basic settings within an image, it can stand out and be both visually appealing as well as a recording of an event that will never happen again. Each photograph captures a moment in time that will never be repeated.
I tell my wedding clients that “the cake is eaten, the flowers wilt, the dress may be worn only once, but the photographs last a lifetime.” It’s because of this simple truth that I believe photographs need to be the very best they possibly can, and for a photograph to be the best it possibly can be, we need to be able to enhance the image to create the best wedding album (or other product) possible.
About the Author: William Johnston is a professional photographer providing wedding photography and portrait photography throughout Bristol, Bath and Somerset, the South West, Birmingham and the West Midlands, Leicester and Leicestershire, London, and the Home Counties.
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In this article, you’ll learn how to use motion and long exposure photography to create abstract wave photography.
There’s something about water. It is mesmerizing. People flock to beaches and waterfalls to photograph water. We seem drawn to its fluid beauty.
If you Google “waterfalls,” you’ll find millions of images. Beaches, sunsets and softly crashing waves also pepper Google searches. Given these two facts, why then do most of the images of water, waves, and waterfalls always look so similar? The same seems to be true of wave photography – all the photos seem to follow a particular recipe.
You find images either capture the violence and strength of water as the wave crashes or you see images of curling barrels of water, usually taken at sunset. Water has much versatility. Its fluidity makes it an intriguing subject matter.
Capturing the motion of water seems to be one of humanity’s favorite past times, but there’s more you can consider. How can playing with motion expand your efforts to capture waves and water? Perhaps by experimenting, you can find new angles and new ways to capture waves.
1. Using longer shutter speed to change the look and shape of waves
When photographing a waterfall there’s only one way that the water can flow, and that’s downward. Sure, the water may travel a little to the left or right over some rocks, but the reality is it’s headed in the direction gravity pulls it. So when we use a slow shutter speed, the look of the water is predictable. We know and love that white candy floss type of look.
When using a slow shutter speed with waves; however, the results are less predictable. The water may crash and spray against rocks and bubble. It may splash and break in endless patterns. Using a slow shutter speed to capture the breaking of a wave can yield some interesting effects and looks.
Let’s take a look at some of the following experiments.
Shot using 1/8s, f32, ISO 100.
In the above example, I used a longer shutter speed to capture these unusual looking wave shapes. The first wave was rolling back into the oncoming wave, and the collision created these upward sprays. With a longer shutter speed, you can capture the wave and some light trails. If you look closely, you’ll also notice that the longer shutter speed seems to create a ghost-like transparent look to parts of the splashing wave. You can see through some of the water.
Perhaps this look doesn’t appeal to you, but it does break the traditional view of a wave.
2. Study the way the waves break and look for patterns you can photograph
You can also play with motion and study the way the wave breaks. Despite their fluidity, waves do tend to break in the same places along a beach. Of course, they vary in intensity and size depending on the day, but you can watch a storm and know that waves will hit a rock and create a lot of splashing or spray. Watching the waves and then using these patterns along with a long shutter speed, can also create some different looking images. Let’s take a look at the following example.
1/8s, F32, ISO 100
While I used the exact same shutter speed in this image as the first image, the look of the image has changed. This is due to it being shot at a different location along the beach. In this spot, the waves were smaller, and they rolled in slowly with less turmoil. The light trails have stretched out more, and you can discern the rolling nature of the wave as it meets the beach. The sand below the surface is also visible. Also, the incoming waves behind are more abstracted in this photograph.
Some people have told me they look like they’ve been painted rather than photographed.
1/13s, F32, ISO 100
For this image, I used a slightly different shutter speed. I searched for patterns and used a longer focal length revealing a different look to the waves. In this image, the light trails are much more important to the composition of the photograph. Less defined by the white water, the shape of the wave is revealed by the smooth lines of the wave.
3. Move the camera horizontally as you capture the waves
Of course, waves are in motion, but we can change the look, feel, and our perceptions of waves by including the motion of the camera while capturing the movement of the wave. In the image below, I used intentional camera movement (ICM) – the waves were moving right to left, while I dragged the camera across the wave from left to right.
1/13s, F32, ISO 100
The light trails are still a part of the capture, but the wider angle and the motion of the camera turn the waves into something different. Here the shape is more abstracted and becomes a white oval against the water and the sand which now streaks of different shades of beige. The waves are no longer defined. Instead, the motion of the camera abstracts the water a little bit.
4. Move the camera in a bouncing motion
1/10s, F32, ISO 100
Pushing the experiment further, I moved the camera in a sort of bouncing motion. The look of the rocks on the beach becomes important in this photograph. Also, the light trails also take on a different shape. The effect of the motion on the water seems to have less of an effect too.
Once again, experiment to see what you can create and how you can take a typical subject matter and make it different. I rather like the bouncy, playful feel to the rocks on the beach.
5: Get very close
In the following images, I used a much faster shutter speed, and I moved closer and closer to the subject matter to take the images.
It was about capturing something as I moved to see what the camera grabbed. It’s a fairly impulsive way to use your camera. The autofocus is unpredictable in this scenario, but the results are surprising. It’s also fun to see what you can get. This is less about planning but more about enjoying the moment and options available to you as you move your camera.
1/800s, F2.4, ISO 400
1/800s, F2.4, ISO 400
In both of these photographs, I used a very shallow depth of field with a very low perspective. I chose to lie down on my belly and inch my way towards the waves while holding down the shutter speed. To me, the resulting images feel as if you are falling into the water. There’s very little to focus on, and the water seems to be all around. Some may find the view unsettling, but love it or hate it; this is another way of looking at and capturing waves.
In Conclusion
Playing with motion to create some new perspectives in wave photography can be a fun experiment. Some images will work very well, while others may be hard to look at. Either way, it’s about finding ways to get creative with your camera. It’s about studying a subject and showing the world how much variation there is in the world. Using motion to capture water is a fun experiment that’s easy to complete with almost any type of camera.
What’s my next experiment? Who knows? Maybe it’s using motion and underwater photography with waves. We’ll have to see.
If you’ve tried some interesting angles or techniques for photographing waves, share them with us. Let’s see what types of abstract wave photography you create!
Oracle’s Larry Ellison pointed fingers at its competitors and said that they cannot keep pace with Oracle's speed and expertise in developing applications.
At the Oracle OpenWorld, the Executive Chairman and CTO said in his keynote that Oracle has been rewriting all of its applications for the cloud from scratch in the last 13 years and this makes it different from all other suites provided by the competition.
“Each application is engineered to work with each other and our Fusion Cloud application suite is engineered to run on Generation 2 cloud platform. We have three suites of cloud applications – ERP, HCM and CX. We have more applications, more features and more functions than any other suite of applications in the cloud or on-premises,” he said.
Generation 1 cloud places user code and data on the same computers as the cloud control code with shared CPU, memory, and storage while Generation 2 cloud puts customer code, data, and resources on a bare-metal computer, while cloud control code lives on a separate computer with a different architecture, apart from autonomous, integration and analytics capabilities.
Ellison said the combination of Fusion apps and NetSuite makes Oracle as the number one in Cloud ERP with 25,000 customers while Workday, in the second place, has a few hundred Cloud ERP customers. “We have a large market share and increasing the market share for the last couple of years,” he said.
Moreover, he said that Oracle has overtaken Workday in human capital management cloud customers and behind its primary competitor Salesforce in customer experience applications,” he said.
A true cloud infrastructure
Ellison proudly claimed that Oracle has the most complete suite of front- and back-office applications, all of it written specifically for the cloud and taking advantage of the Generation 2 cloud platform.
“Oracle is investing very heavily in building new applications, building new technologies to enhance those applications,” he said.
Pointing fingers at Salesforce, SAP and Workday, he said that they do not have cloud infrastructure to build apps while Oracle’s Fusion apps are built on a true cloud infrastructure.
“When we acquired NetSuite, it had multi-tenancy capabilities built into its applications but that is not the right place for multi-tenancy capabilities. Salesforce has multi-tenancy capabilities on its applications. Now, as NetSuite is on our Gen 2 Cloud, they are taking multi-tenancy capabilities out of the applications, so it is fully secured. NetSuite will use the multi-tenant capabilities of the underlying database instead.
“We have a true cloud. We have storage, compute, autonomous database and machine learning. We can compete with Amazon, Google or Microsoft but they are not our competitors in the enterprise application space,” he said.
Growing from strength to strength
Ellison gave credit to Salesforce for building its applications from the ground-up, specifically for the cloud.
“They were very early and doing this for a long time. They put multi-tenancy into the applications business and that is all they could do. Salesforce has built some kind of capability to allow people to write small programmes or through extensibility platform called Force.com. But Force.com is highly propriety, limited functionality and just extensions. But they have and built it out of necessity,” he said.
Workday, which also built their applications specifically for the cloud, has no capability like Force.com and no underline cloud facility, he said; but Workday is way better than SAP which somehow forgot to write their applications for the cloud.
However, he said that what SAP is trying to do is convincing customers to replace Oracle databases with its HANA technology, but has not updated the actual applications built on HANA for the cloud era and their multi-cloud applications are 35-year old code and nothing is rewritten.
“SAP has no cloud ERP applications and no cloud platform and that is a huge opportunity for us. Thanks, SAP for doing that,” he said.
Showing some statistics, he said that Oracle has 31,000 cloud application customers as of the fiscal year 2019 compared to 29,000 in the fiscal year 2018, at a growth rate of 339% in five years and 106% growth in the number of apps cloud products over the past five years.
Do you like adding borders to your digital photos? Apps and editing programs offer a wide variety of fun and creative ones for you to choose from. The sprockets from film photography have become very popular because of its vintage look. I’ve decided to bring this idea one step further and make creative photography montages with a contact sheet template in Photoshop. Read on to learn how you can too.
Contact Sheet
Contact sheets come from film photography and are made by placing the film negative directly onto the light-sensitive paper and then exposing light onto it. Because of this, the resulting image was a positive image of the film on a 1:1 scale.
Film comes in different formats: 35mm, medium and large. Furthermore, each brand puts the frame number, name and other information on the film. You can use all of these as different styles for your template. See how the same image can look so different just by changing the type of film border.
Each different film will result in a different contact sheet, and you can use any of them for your montage. There are many styles available for sale on stock photography websites, and of course, you can scan an original one to use. However, if you want to create your own, I’ll show you how to easily design a basic 35mm contact sheet in Photoshop.
Digital 35mm contact sheet created in Photoshop
Film rolls of 35mm were available in 12, 24 or 36 frames. Because of this, it’s easier if the size of your document is a multiple of six on the longest side. For now, I’ll make the artboard 24 cm both in height and width so that I can create 36 frames. Later, I can add some extra space if I see it’s too tight.
To begin, turn on your rulers. If they’re not visible by going to Menu -> View -> Rulers. You can change the measurement units by right-clicking on them and then choosing centimeters. Now draw your guides by clicking on the ruler and dragging it to the place you need it. I’ll put them every 4 cm so that I can design six frames per row.
To put your guides on exact co-ordinates, go to Menu -> New Guide. In the New Guide window, choose Horizontal or Vertical, and then enter your exact position number, and press OK. Your guide will then appear in the exact position you want on your artboard. Repeat the process to have exact guidelines.
Now you know where to draw your film.
From the toolbox, choose the Custom Shape Tool. Then go to the Options bar and open the shapes menu, where you’ll find the 35mm Film shape.
You can choose the color in the same option bar. I’ll do a dark grey to simulate the original as close as possible, but you can do something more contrasting if you like.
Drag and drop at the start of each guide, and repeat until you fill your contact sheet.
Now determine the canvas size by going to Menu -> Image -> Canvas Size. Make it to your liking. I’ll only add some space on the sides.
You can turn off your guides now by pressing Cmd+; (mac), or Alt+; (windows).
To make your template more manageable, merge all your shapes together, and then rasterize them. You can find both commands by right-clicking on the selected layers to open the pop-up menu.
Make a selection of the frames where the image will show to create your collage. Save it by going to Menu -> Selection -> Save Selection. When the pop-up window opens, leave all the settings as they are and just name it. Then click OK. This way, you won’t have to make the selection every time you add an image.
Add the base image by going to the menu File -> Place and adjust to the right size. You can also do Copy and Paste but then your image won’t be a Smart Object and it can lose quality if you modify it many times. To learn more about this, check out Photoshop Smart Objects for Beginners.
Now the image is visible through the contact sheet, but it’s also coming through the sprockets and on the sides. This is where the saved selection from before comes in handy. You now load the selection by going to menu -> Selection -> Load Selection.
Then click the Create a Layer Mask button from the bottom of the Layers panel.
Add other images into the mix, or use the same one in different sizes and places to create your collage. Just repeat the process for each image you want to add and your montage is ready.
If you are having any trouble with the visualization of certain images make sure the layers are in the right order.
Call of Duty: Mobile has an official release date, and it’s coming out for iOS and Android phones on October 1 for all but a few countries (except China, Vietnam and Belgium).
The free-to-play, multiplayer-only title shrinks the typical modern Call of Duty shooter experience down to smartphone level, with abbreviated controls and features that preserve the feel of the FPS franchise.
To that end, plenty of classic maps like Nuketown and Crash are ported over to CoD: Mobile, as are multiplayer modes like Team Deathmatch, Search and Destroy and Free-For-All. The result of this effort is that the guns, pace of combat, and combat flow are pretty faithfully reproduced for the smaller screens.
TechRadar got an early look at CoD: Mobile back at E3 2019, and the game felt so familiar that we felt anyone who’d played a game in the series would have little trouble adjusting to mobile gameplay – and would have an advantage over Call of Duty newbies.
That extends to the game’s battle royale mode, adapted from the console Call of Duty’s Blackout mode – but played on a huge map stitched together from a bunch of well-known maps in the CoD series. Plus, of course, a bevy of weapons and vehicles from the franchise.
What makes a mobile Call of Duty
Obviously, there’s a big difference between playing a shooter on the latest consoles or PC and playing on a smartphone. Call of Duty: Mobile has a few control options to make the transition easier, like an optional auto-shoot mode that pulls the trigger for you the moment you line up a crosshair over an enemy. You can also customize the HUD to clear up the clutter.
Those mobile-friendly options aren’t surprising additions: Tencent’s Timi studio developed CoD: Mobile in partnership with Activision. TiMi had previously made one of the PUBG versions available in China as well as the blockbuster smartphone MOBA, Arena of Valor/Honor of Kings.
The game will launch with a slew of multiplayer modes and Battle Royale – and while the press release didn’t mention it, we did see hints of a franchise-favorite Zombies mode when we tested the game at E3 2019.
Given some of the YouTube videos purporting to show early footage of the mode in CoD: Mobile, and its wild popularity across the series, we’d be surprised if it wasn’t part of the game. But given additional modes, content, time-limited events and playlists will be added “on a regular basis,” per the press release, we’ll just have to wait and see.
After buying a new camera we all start planning for our next lens, which can replace or complement the kit lens. This is when the real confusion starts, you have to choose one out of the so many options available in the market. If you are a Canon APS-C camera user and looking for a wide-angle lens, the Canon EF-S 10-18MM f/4.5-5.6 IS STM could be an ideal choice. I have been using this lens for almost a year now, so I thought of sharing my experience and views with you all. Let me share 5 reasons why I believe that Canon 10-18mm lens is a must-have wide-angle lens.
1. Ultra-wide angle of view
If you are or have used the 18-55mm kit lens on your Canon APS-C body, there might have been situations when you wanted to go wider than 18mm. This is when having the Canon 10-18mm lens in your camera bag can help you click frames as wide as 10mm (P.S. do apply the crop factor).
Imagine you are at a rock concert or an event and you wish to capture the entire stage in a frame. Or imagine yourself looking at a beautiful landscape with beautiful clouds and the sun is setting. This is when using the 10-18mm lens can help you capture ultra-wide angle shots even from a short distance.
2. Ideal for Vlogging
With companies such as Canon also focusing on video features, more and more people are adapting to the vlogging culture. Isn’t it fun to capture moments and experiences when you are traveling and at the same time show your surroundings in a single frame?
I have been personally using the Canon 10-18mm lens on my Canon M50 to record almost all my vlogs for the past year, and have never had a second thought about it. The only situation where this lens can struggle is in low light conditions as f/4.5 is the widest it can go, which might introduce noise. But then, at $ 300, you can hardly find such a wide focal length that matches your requirements.
3. Features Image Stabilization
There are very few lenses (as far as I am aware) that feature Image Stabilization, and are priced under $ 300. This lens is equipped with a 4-stop optical image stabilizer which comes in handy while clicking photos in low light conditions. In practical scenarios, I have managed to get a sharp and stable shot handheld at 1/2th sec using 10mm focal length. So even if it is an f/4.5-5.6 lens, you can let in more light using a slower shutter speed in low light situations.
But you must be careful while clicking images at such a slow shutter speed, especially when there are elements in motion in your frame. I usually use it while clicking photos of monuments/buildings or creative images like light trails.
4. Use it for close-up shots
You may be thinking, “why would I want to click macro shots using a 10-18mm focal length?”
Well, this is not the ideal focal length range for macro photography, but that is where the fun starts. If you wish to capture something different and with a unique perspective, you can get some amazing close-up shots.
In the sample macro shot shared above, you can see that I was able to get close to the insect and at the same time capture wide frame with shallow depth of field. Isn’t that a unique perspective in itself?
5. Ideal for Street Photography
I believe there is no particular focal length that can be termed as perfect for street photography. Every photographer has their own way of capturing photos while traveling. Some may like ultra-wide, some may prefer a standard focal length, and some may go for a 50mm or 85mm lens.
I tried clicking candid street photos while roaming in my city and to my interest, the 10-18mm focal length range impressed me for the sole reason that I could capture more elements in my frame. If I had shot this photo shared above at 24mm or 35mm focal length, I would either had to move a few steps back or capture only a part of this beautiful moment.
What are your views about the Canon EF-S 10-18MM f/4.5-5.6 IS STM lens? Feel free to comment below.
Back in August, lens manufacturer Tamron released a teaser that promised four new optics would be arriving for full-frame mirrorless cameras – and now another teaser points to an October announcement.
The first teaser showed the company's existing 17-28mm f/2.8 Di III RXD and 28-75mm f/2.8 Di III RXD lenses joined by silhouettes of four others, one being a zoom and three appearing to be either wide-angle or standard prime lenses.
So what do we know now that we didn't know before? Sadly, not a great deal. The new teaser shows them to be a little less obscured, and goes so far as to reveal metal mounts and a zoom Lock feature on one of the lenses, but doesn't give too much else new away.
The video is titled 'Bring Your World Closer. No Steps Required', which points to the zoom lens. Hashtags on the company's Twitter feed also point to compatibility with mirrorless models, and these are accompanied by the promise of more information to come in October, which presumably will be the full announcement – a third teaser would be pushing it.
Only for Sony users?
The fact that these cloaked optics were sitting alongside two lenses already available for Sony Alpha users suggests that these new optics will also arrive in the same fitting.
Sony isn't, of course, the only manufacturer of full-frame mirrorless cameras. It's unlikely that Tamron has plans to release any products for models within the L-mount alliance, but as yet the company hasn't released any lenses for the likes of the Nikon Z6 and Nikon Z7, or the Canon EOS R and Canon EOS RP.
At least for now, it seems unlikely that Tamron will be announcing any lenses for Nikon’s Z system.
Why is this? At the time of the Z-system's launch, it was reported that Nikon wasn't sharing the details of the new mount with third-party manufacturers, which would explain why Tamron hasn't yet announced any compatible optics. A handful of third-party lenses for Z-mount bodies do exist, although these are likely to have been the products of reverse-engineering rather than any co-operation with Nikon.
Could we see some Canon-fit versions though? Quite possibly. The RF range would certainly benefit from some cheaper and smaller options than the impressive but pricey lenses we've seen so far from Canon. But for now our money is on these new optics broadening the pool of options for Sony Alpha users, who've already welcomed many options from Sony and others this year, including Sony's recent FE 35mm f/1.8.
Our best phones 2019 list has changed dramatically thanks to new smartphones that keep coming: the Galaxy Note 10 in August, iPhone 11 in September, soon, Pixel 4 in October. It's smartphone buying season, for sure.
It's an expensive investment, whether it comes from Samsung, Apple or Google. A lot of these phone prices start at $ 1,000, so you'll want to take your decision seriously. But don't worry: we're here to help guide you.
Today's best phone has a big screen, yet is easy to handle; packs a camera suite capable of replacing a point-and-shoot; and has enough processor power and battery to get work done while you're on the go. You won't find smartphones with slowdown and anything less than all-day battery life on this list.
Tomorrow's top smartphone? That'll probably be a 5G phone, like the Galaxy S10 5G, and then, eventually, a foldable phone with 5G, starting with the Huawei Mate X and Samsung Galaxy Fold. But foldable phones are unproven, and 5G in the US isn't in enough cities around the country to recommend. Our list will remain practical.
Why we have more than a No. 1 pick: We have a top pick, but not everyone looks for the same smartphone features. Some will demand iOS 13 and cling to Apple's iMessage, while others will want customizations and Google Assistant tools available in Android 10. Our phone reviews and best phone list reflect that diversity.
Likewise, your contract with AT&T, Verizon, Sprint or T-Mobile is a preference. The best phone for AT&T may not be available on-contract on Verizon, and vice-versa. While we've seen more unlocked phones in the US in 2019, not all are available for every carrier. We have to take that into account when recommending phones, and we favor those that are completely unlocked or available on the four major carriers.
Our pick for best phone isn't just crowning the newest iPhone and calling it a day, though our list does have a lot of familiar names: Apple, Samsung, Google and LG, all in the top 15. Newer companies in the US like Huawei and OnePlus make the list, too, though their limited availability is noted.
The Samsung Galaxy S10 Plus is the best phone you can get for Android right now, if you're just going by specs. Naturally, as the first flagship of 2019, its new Snapdragon 855 processor is the big standout here with even better performance than the phones that closed out 2018. Add in a few cool new (but not essential) features, Samsung's stunning-as-ever display and design as well as top specs and you have a true flagship – for a true flagship price, of course, starting at $ 999.
Screen: The 6.4-inch Super AMOLED display is gorgeous, but that's not surprising. it's the same size as the Galaxy Note 9's screen, and far larger than the Galaxy S9 Plus' 6.2-inch display. The 'Infinity O' display ditches the notch for a punch-hole in the top right corner. Yes, it's twice as wide as the hole in the S10 and S10e, but how else will you fit in the extra selfie camera? This choice (and thin bezels) enable a stunning 93.1% screen-to-body ratio, which keeps the phone as slim as possible.
Battery Life: The S10 Plus' 4,100mAh battery is Samsung's largest yet, just nudging past the Note 9's 4,000mAh and far beyond the 3,500mAh one in the Galaxy S9 Plus. While that didn't lead the new phone's battery life to outpace its predecessors, it still kept it going through the full day with 10%-30% to spare in our casual testing. This is, of course, with standard settings: bump up the resolution from Full HD+ to QHD+, brighten the display or keep it on longer, and the battery will drain faster.
Camera: The S10 Plus has three cameras on the back: a 12MP regular lens, a 12MP optically zoomed telephoto lens, and a new 16MP ultra-wide lens. We found the photo quality to be a bit variable – perhaps due to the dual-aperture main lens – with good but not consistent low-light performance. It's not quite up to par with the Google Pixel 3's Night Vision mode, but it still outpaces most other phone cameras on the market. The two front-facing cameras allow depth for Portrait mode-style photos, which is worth the wider punch-hole gap in the display.
Mini verdict: After some time with the standard Galaxy S10 and Galaxy S10e, we can say for sure that the S10 Plus beats them out. It has the best specs, cameras and battery life of the whole set, and it's not too much more expensive than the other models. If you want a phone that will blow every other device out of the water in early 2019 – as well as its in-screen fingerprint sensor and reverse charging – this is your only real option.
The iPhone 11 isn't technically superior to the iPhone 11 Pro series, but it's priced so well (for an iPhone) and has most of the key features you'll won't need much else from an Apple device. It takes the place of the iPhone XR with the same 6.1-inch screen, but a new dual-lens camera on back.
Screen: The 6.1-inch screen fits in between the iPhone 11 Pro and 11 Pro Max sizes, making it an appealing choice if you want a large screen, but not the biggest. While it doesn't have the perks of the OLED display on the Pro models, some people won't notice a difference unless you see all of the phones side-by-side. It's still a brilliant-looking phone, if you don't mind the notch.
Battery life: This iPhone can delivery all-day battery life, and it's slightly better than the iPhone XR battery, which we thought was stellar last year. The iPhone 11 Pro does last a bit longer and comes with a fast charger in the box – the iPhone 11 does not.
Camera: This is close to the best iPhone camera, with both a 12MP main camera and a new 12MP ultra-wide camera to cram more into the frame. It's missing the triple-lens camera on the Pro models, which adds in a telephoto lens, but you're getting the two essential cameras from that pairing, and it includes a long exposure night mode that will automatically bright up dark photos.
Mini verdict: The best thing about this new iPhone is that it costs $ 699, cheaper than the XR at launch a year ago.
This is Samsung's most expensive non-foldable phone, and the big perk is that it comes with the handy S Pen that does new tricks. The screen is the most exquisite part of this really big phone, but you'll have to be able to handle its large size and equally big starting price.
Screen: Can you handle a phone with a 6.8-inch display? If the answer is yes, then you'll really enjoy this big-and-tall curved Infinity Display. It's immersive and easy to ignore the small front-facing camera hole at the center-top of the screen. It's the best display we've seen on a big phone.
Battery life: The Note 10 has a 4,300mAh battery, and we found that it goes a day and a half with normal use without a problem. Samsung has improved its underlying battery saving tech and it's also equipped its phone with a 25W fast charger in the box and, there's compatibility with 15W fast wireless charging now.
Camera: This is where the Note 10 Plus shines, even if it isn't the best camera phone – it's the camera we had the most fun playing with. Some of that it thanks to the five cameras: four on the back and one on the front. You have the standard wide lens, the 123 degree field-of-view ultra-wide lens, and the 2x optical zoom telephoto lens. But we really liked the selfie camera here thanks to fun filters like Color Point that keep you in color but isolate the background in black-and-white.
Mini verdict: The Note 10 is impressive and certainly impressively big. The S Pen is used for more than taking notes these days, and contains some tricks like trigger a remote camera shutter and a few new gesture controls. These won't sell you on the phone, though. They're nice-to-haves. What will tempt you is that immersive screen and great battery life.
The iPhone 11 Pro Max is the biggest phone Apple has created, and it's also the most high-spec'd phone from the company.
It's expensive even by iPhone standards, but it features an all-screen, notch-toting, almost bezel-free design with masses of power under the hood. The big upgrades compared to the iPhone XS Max are the improved cameras and boosted power.
Screen: The 6.5-inch OLED screen on the iPhone 11 Pro Max really grabbed our attention – it's fantastic for video streaming and gaming.
Battery life: This is some of the best battery life we've ever experienced on an iPhone, with further optimizations within iOS and a larger cell inside the phone itself. It's still not game-changing, but it's better than other Apple handsets.
Camera: The triple camera setup on the iPhone 11 Pro Max is fantastic. This is the first time Apple has implemented three rear cameras, and it offers a great experience. Plus, it can be fun to use.
Mini verdict: If your hands are as big as your bank balance, the iPhone 11 Pro Max takes Apple's smartphone to a whole new level with an improved camera and more.
The Google Pixel 3 came out in October, offering some internal upgrades, improved camera performance, a second front-facing camera, and a better screen than its predecessor. And, as with past Pixels, when it comes to smartphone cameras, this is a top contender.
Screen: The Pixel 3 stretches the previous model’s screen to 5.5-inches for an 18:9 aspect ratio. There are no notches taking up any of the screen space either. Colors are rich on the OLED display, and thanks to the dual front-facing speakers, it makes for a handy streaming device.
Battery life: A 2,915mAh battery is nothing to get excited about in a modern smartphone. That said, with conservative us, it’s not hard to get all-day battery life. If you’re not taking a lot of photos, it may be easier to get a full day of battery, but with such a good camera, it may be tough to avoid.
Camera: The Pixel 2’s cameras are its best selling point. On back, the 12.2MP sensor paired with Google’s brilliant software optimization make for stunning photos in most situations. Optical Image Stabilization certainly helps, too. Selfie lovers get a bonus with dual front-facing cameras that can snap photos with different viewing angles.
Mini verdict: The Pixel 3 is powerful on the inside, and even though its design isn’t the most exciting from 2018, nor is its battery, it’s all about the camera in the end. And, with Google’s knack for photo optimization, this phone can almost sell itself with the camera alone.
The Samsung S10e is the littlest (and least pricey) sibling of the S10 line in both size and features. While it loses out on a few of the cutting-edge features like in-screen fingerprint scanner and a telephoto lens, its remaining arsenal of flagship specs, ultrawide camera and good interface make the S10e a standout at a discount. Plus, it's small enough to use one-handed.
Screen: The 5.8-inch AMOLED screen is crisp and sharp, with enough bright colors and customization options to tweak to your liking. While it's nice that the budget flagship of the S10 line has an OLED screen (unlike the iPhone XR with its LCD display), it's not as high resolution as its bigger siblings, capping out at 1080 x 2280 pixels to the S10 and S10 Plus' 1440 x 3040 pixel maximum.
Battery life: A 3,100mAh capacity isn't the biggest battery on the market, but it will see you through the day, and may last longer than you think thanks to the phone's smaller screen. You'll need to stretch it out if you plan to use Wireless PowerShare, the S10 line's new feature that lets you donate battery charge to another Qi-charging device. Don't worry, it won't drain yours to oblivion: the feature shuts down when your phone hits 30% battery.
Camera: Considering the standard Galaxy S9 had a single lens, the S10e is a major upgrade with its two useful cameras. The first is the standard 12 MP, f/1.5-2.4 Dual Aperture lens found in the phone's predecessor (switching between the two in day/night shots), while the second is a 16MP f/2.2 ultrawide lens that manages 123-degree field of view. While the phone misses the 2x telephoto of the other S10 phones, its ultrawide is far more useful.
Mini verdict: The S10e is a fantastic little phone, perfect for anyone who wants to use their flagship phone one-handed – or just wants all the best specs at a lower price. While it's still more expensive than midrange phones or the current value champion, the OnePlus 6T, the S10e has more features and cutting-edge specs to push it beyond the competition.
This is the best in phone value if you want an all-screen display and don't want to pay for the Samsung or Apple name. it's a bit cheaper than the Galaxy S10e, though not as affordable as last year's OnePlus 6T. It has almost everything except wireless charging, a microSD card slot and a perfect camera.
Screen: This is the main draw. Thanks to a mechanical pop-up selfie camera, the OnePlus 7 Pro has the best screen we've tested. No notch and punch-hole camera in sight, and it stretches from edge to edge. Even better, its 90Hz screen refresh rate gives it more fluid movement. Samsung's screen has been dethroned.
Battery life: The OnePlus 6T has fairly good, but not great battery life thanks to its 4,000mAh battery. It'll get you through a whole day, but not much more than that. The real news is its Warp Charge 30 adapter that allows this phone to go from 0% to 100% in a little over an hour. It's very fast.
Camera: The camera has always been the weakest part of the OnePlus lineup, but we've experienced better phones from the OnePlus 7 Pro. It's not going to top our best camera phones list, but the triple lens (regular, ultra-wide and telephoto) did a fine job in proper light. Nightscape mode has been improved, but begs for a tripod in mixed light (any lights in dark scene tend to smear).
Mini verdict: The OnePlus 7 Pro has the wow factor missing from smartphones in 2019 thanks to what's on the screen (90Hz fluidity) and what's not (a camera notch). It looks the part of a flagship phone and acts more expensive than it really in part because of its top-shelf specs. As long as you don't want the best camera phone, this a solid option.
Here in the US, Huawei phones are not as familiar to shoppers as Apple and Samsung's best phones. But, that doesn't mean they don't have as much to offer. From Hauwei's Mate line to it's P series, it is making some of the very best phones, and the P30 Pro is is a true champion from the Chinese manufacturer.
Screen: The P30 Pro has a large, 6.47-inch display with only a thin chin bezel at the bottom of the screen and a teardrop notch at the top. It's a sharp OLED display, and though it doesn't have as high a resolution as some others, we'd be hard pressed to see the difference.
Battery life: The Huawei P30 Pro turns up in the battery department with a 4,200mAh cell. That's easily enough for a whole day, and can pull through a day in a half comfortably or even two days with light use. There's enough power there that Huawei enabled reverse wireless charging to let the P30 Pro power other phones.
Camera: While plenty about the P30 Pro is of flagship quality, the cameras are where it really stands out. Its suite of cameras make it among the very best camera phones in the world. It combines a high-resolution main camera, a camera with powerful zoom, an ultra-wide angle camera, and a time-of-flight sensor to handle depth. This makes it incredibly versatile, capable of taking better long-distance and low-light photos than most other phones.
Mini verdict: If you're after a phone with great looks and a camera that's ready for just about anything, then the Huawei P30 Pro is an excellent option. It also offers a price that stays below a lot of its competition. However, availability concerns in the US hold it back a bit.
The bigger S10 Plus is by far Samsung's best phone, but the standard S10 backs almost all the same top-end features into a more compact form factor and slightly lower price tag. And yet, the S10e loses a few of those for even lower cost, putting the standard S10 in an awkward place. This middle child is a great phone, but it's overshadowed by both its siblings, which occupy more desired niches in the smartphone market.
Screen: With a 6.1-inch display you're not exactly getting a small screen with the standard S10, but Samsung has reduced bezels even more over the S9, keeping the dimensions surprisingly compact. You also get a fingerprint scanner embedded in the display, meaning there isn't one on the back for a seamless rear cover.
Battery life: The battery in the S10 has grown versus the one in the S9, but with the increased screen size as well you're still looking at all-day battery life with a nightly charge. The S10 also has Samsung's new Wireless PowerShare, allowing you to wirelessly charge other devices on the rear of the handset.
Camera: Like the S10 Plus, the trio of cameras on the Galaxy S10 are among the best on the market, building on the excellent setup on the S9 series by offering more features, shooting modes and overall clarity.
Mini verdict: The Samsung Galaxy S10 gets proper under-the-hood upgrades, two more lenses and fun new perks. You’ll like all of these powerful features, while your friends will like the new Wireless PowerShare perk – it helps them out more than you.
Apple’s iPhone XR was a little bit late to launch after the iPhone XS and XS Max that launched a bit earlier. But thanks to its lower price point, it makes for a more affordable option than the XS models. For some, the powerful internals paired with the large screen and lower price will make for a compelling buy, especially thanks to the surprisingly good battery.
Screen: The iPhone XR screen isn’t its strongest selling point, as it’s a notable downgrade. It’s resolution falls short of Full HD, and it’s not a battery-friendly OLED. Still, the Liquid Retina LCD display used still has good sharpness and brilliant colors.That said, the 6.1-inch display offers plenty of real estate.
Battery life: Though this is the more affordable iPhone to come out in Apple’s latest batch, its battery life stands out. Thanks to the A12 Bionic and chipset and lower resolution, the battery performance is great, making it the first iPhone that could comfortably get through a whole day of use in our testing without us worrying about.
Camera: While the other iPhones have dual rear cameras, the iPhone XR has just one sensor. For normal photo shooting, it does a great job though. The lack of a second camera also reduces the quality of Portrait Mode photos. But, the detractors came largely in comparison to other top cameras.
Mini verdict: The iPhone XR has all the performance of its more expensive siblings on the inside. It’s camera and screen may not be as impressive, but where it truly dazzles is in the battery life. If you want an iPhone with a battery you won’t always worry about, the iPhone XR is it.
The Huawei Mate 20 Pro is one of the most impressive phones from the Chinese firm to date, offering up a heady mix of design, power and performance with a few party pieces thrown in too.
It builds on the excellent P20 and P20 Pro, offering up even more screen, enhanced triple rear cameras and an in-display fingerprint scanner.
Screen: The Mate 20 Pro packs a huge 6.39-inch display giving you a huge amount of space for gaming and movies, and its QHD resolution and HDR10 support ensures everything looks great. There is a wide notch at the top of the display though.
Battery life: You'll get great battery life from the Mate 20 Pro, and we regularly achieved a day and a half of usage from a single charge during our review time with the handset.
Camera: The Mate 20 Pro comes with three cameras on the rear, nabbing the excellent 40MP wide-angle and 8MP telephoto lenses from the P20 Pro – but the third sensor is new. It's an ultra-wide 16MP snapper allowing you to cram even more of your surroundings into each shot.
Mini verdict: The Mate 20 Pro is a full-featured phone for a full-featured price – it even has a few tricks you won’t see elsewhere, and more powerful specs than most of its competitors.
iPhone XS is a minor, but important upgrade over last year's completely redesign iPhone. It's noticeably faster and has an improved dual-lens camera to make it a better choice, if you're willing to pay the same launch price. No the look of the 5.8-inch new iPhone hasn't changed on the outside, but if you want a more one-hand-friendly size for a cutting-edge iPhone, this is the one to buy.
Screen: The 5.8-inch OLED on this iPhone is big, but not a turn off for some people who literally can't handle the 6.5-inch iPhone XS Max (which we like a bit more in our big mitts). This phone size isn't too much bigger than your old 4.7-inch iPhone 7 or iPhone 6 thanks to its reduced bezel – though you'll miss the Touch ID home button. You'll forget about that when staring into the color-rich OLED that's dreamier than the old iPhone LCD.
Battery life: The iPhone XS has about the same battery life as the iPhone X, so you'll get all-day battery life with normal use. Power users may struggle a bit without one of the best power banks, and although Apple says it has 30 minutes more battery life than the iPhone X, the smaller capacity and our tests show it's shy of that claim.
Camera: This is where you'll see differences in the otherwise familiar-looking iPhone XS. Its dual-lens camera offers Smart HDR and optical image stabilization (OIS). It's not as vivid as the cameras on a Google Pixel 2 or Samsung Galaxy S9, but you'll get true-to-life photos that make the 2018 iPhone's a worthy upgrade.
Mini verdict: Although still expensive, the iPhone XS is our best phone for someone who wants to use iOS 12 and doesn't want to spend even more money on the bigger iPhone XS Max. You have your limits, and that may be 5.8 inches and $ 1,000.
The Google Pixel 3 XL brings higher end internals and a notched screen to the latest iteration of Google’s larger phone. It’s got the same great cameras as its smaller sibling, but more screen and more battery. Unfortunately that also means a higher price.
Screen: The Pixel 3 XL has a sizable 6.3-inch OLED screen with an 18.5:9 aspect ratio. There’s HDR support and a sharp 1440 x 2960 resolution. The viewing experience is good, though this screen does have a rather chunky notch that may not be to everyone’s liking.
Battery life: In our testing, we found the 3,430mAh battery to be plenty. Power users can get a full day, and average users are likely to find themselves getting a day and a half. Some of that battery performance is likely coming from good battery optimization within Android Pie. Fast charging and fast wireless charging just round out the offering.
Camera: The Pixel 3 XL has the cameras to beat. Google knows how to make a good camera that far exceeds what the specs sheet says. It uses a 12.2MP rear sensor, but software optimization helps it outperform other smartphone cameras in just about all cases. The dual front-facing cameras also give selfie-lovers some extra versatility.
Mini verdict: The Pixel 3 XL improves on the previous generations design, fitting more screen into roughly the same size. It also manages a battery life that should satisfy most. Best of all, the camera is better than anything else you’ll find (except the Pixel 3, which is just as good).
The Samsung Galaxy S9 Plus is aging gracefully. It's cheaper and a bit less powerful than its Galaxy S10 Plus successor. But, it's still a big phone with an expansive screen, top-of-the-line camera and all-day battery life. This is still one of the best Samsung phones you can buy in the US if you have large enough hands for its massive size.
Screen: Its 6.2-inch Super AMOLED display that really sells this phone, and not because it has more pixels than before (it doesn't) than last year's S8. It’s the futuristic-looking curved edges, vibrant colors, and high contrast ratio that make the screen pop. It's hard to go back to any other size once you hold this large, beautiful light beam in your hand.
Battery life: Samsung's 3,500mAh battery is large enough to last all day and a little bit more. It's better than the normal-sized S9, though other phones out of China are maxing out at 5,000mAh these days. It's the one area this handsets seems adequate and not Plus-sized. Luckily, it support Samsung's very quick fast charging standard.
Camera: Low-light scenarios are no match the the Galaxy S9 Plus dual-lens, dual-aperture. It does a fine job at amping up dark environments without adding noise that you'll see from other camera phone. It does smooth out textures in the process, but it's on par with, and at times better, than the Google Pixel 2.
Mini verdict: The Galaxy S9 Plus is Samsung's answer to the iPhone X, but better in several ways. It too has stereo speakers, face unlock, AR Emoji and vertically stacked 12MP dual cameras. What's better? Its better low-light photos, 3.5mm headphone jack and larger 6.2-inch curved all-screen display – without a notch. No one else has this combination right now.
The Samsung Galaxy Note 9 has shown some staying power, even as the Galaxy S10 line launched. It's intro price of $ 999 was staggering to see, but Samsung's best phones have a way of coming down in price within a few months of launch, and that helps make the Note 9 a bit of a steal.
Screen: Samsung's 6.4-inch Infinity Display is slightly bigger (taller, but actually more narrow than the Note 8) and wraps around the sides for a nice curved look and feel. Samsung is anti-bezel and anti-notch. What you may not see at first is the extreme brightness of this display and the color reproduction. It's impressive when you see it in person.
Battery life: The Note 9 has a 4,000mAh battery and is the key reason we like it over the S9 Plus. The capacity is 14.2% bigger than the S9 Plus and 33.3% bigger than the S9. It lasts all day with heavy use and deep into a day two with normal use. You can also charge over wireless easily, and fast charging boots in 17% battery in 15 mins.
Camera: The Note 9 camera is impressive, just like the S9 Plus six month before it, and it has the added benefit of remotely capturing photos from up to 30 ft away via the Bluetooth S Pen. Samsung also added AI smarts to the camera that automatically adjusts the white balance and color based on the scene it detects. The camera does as well as the Google Pixel 2 in low-light (sometimes better, sometimes worse, but not by much in either direction), and the default camera app is robust (more so than Google's), yet remains streamlined and initiative. It does lack HDR video recording, seen on other Android phones from Sony and LG.
Mini verdict: The Note 9 is bigger in all ways, including the price. It was one of the most expensive phones in the US when it launched, but that's not the case anymore. And, you're still getting a great camera and ample storage (and a microSD card slot) for your money. The battery is big, too. Samsung packs a lot into its all-day smartphone with a stylus.
Amateurs and pros alike face the fact that slower shutter speeds and camera shake lead to blurred images. This tutorial by David Bergman demonstrates some of the main reasons for camera shake and how to overcome them:
Camera Shake Rule of Thumb
The old school rule of thumb about camera shake is that as long as the denominator of the shutter speed is bigger than the focal length, you can avoid image blur. That means that if you’re shooting at 50mm, you should select at least a shutter speed of 1/50 of a second or faster to get a blur-free image. In the real world, the wider the focal length, the less the camera shake.
Modern lenses come with built-in image stabilization and selectable ISO. These are great in terms of speeding up the shutter speed and getting blur-free images.
Body Positions to Prevent Camera Shake
There are a host of techniques that you can adapt in order to minimize camera shake.
First, keep one hand underneath the lens barrel (as demonstrated below) in order to stabilize it.
Keep one hand under the lens.
Tuck your elbows in to your body to reduce movement.
Spread your feet slightly so you’re properly balanced.
If possible, lean against a wall or a tree for additional support.
Take slow, deep breaths and press the shutter release at the end of your exhale.
Look through the viewfinder instead of at the LCD screen to compose shots. Holding your camera up against your faces gives you an extra bit of support.
If you have to use the back LCD screen, use the camera neck strap and hold it as far and as hard as you can. It should give you some leverage to get sharp clean video footage.
Make use of your neck strap.
Finally, if you’re still plagued by the problem of camera shake, set your camera to burst mode and fire away as many shots as you can. Chances are you will get at least a few frames that are perfectly sharp.
When Andrew Takano drove all the way from Austin to Big Bend National Park, he was expecting to spend five full days there, taking photos around the remote and little-visited desert. Instead, he arrived the first morning at 6 a.m., and his car began to break down. He spent most of the day fixing it and wound up staying only a single night before heading home with just one shot he was most proud of—this crystal-clear moonset (like a sunset, but, you know, with a moon) over the rocky Texan mountains:
With a long enough exposure, a moonset looks as dazzling as a sunset. (Via Imgur. Click for larger image.)
Takano shot it with a Canon 6D with a 2.8 aperture, ISO 1600, and a 20-second exposure to maximize the light and color. The timing is great, because he couldn’t see very well in the darkness and the framing, following the traditional rule of thirds, is spot-on.
“This photo was just from a consolation session I gave myself so I wouldn’t feel too terrible about having to go home so soon. In actuality, I took about 70 photos that night, many of them trying to get the exposure and framing right. It’s unbelievably hard to frame foreground elements in photos when it’s so dark you literally can’t see the ground beneath your feet.”
