 decrease the quality of your files. To maintain the iPhone camera resolution, choose the aspect ratio you want via shooting modes.
At the bottom of the screen in your camera app, you can choose from Photo, Square, and Pano among others. The default setting is Photo, which produces 5:4 size images. For Instagram, pick the Square mode which has an aspect ratio of 1:1. And for 16:9, you can select Pano. Your phone will then adjust the screen size on live view to reflect the aspect ratio you prefer.
Unfortunately, if you still want to reduce your panorama photo from 16:9 to 7:5, you’ll need to use the crop tool. And the same goes for cutting down 5:4 images to 4:3 or 3:2.
If your iPhone camera has multiple lenses, you have even more options to increase the quality of your photos. If your iPhone has two lenses and it is older than an iPhone 11, you have the Wide and Telephoto camera mode. The iPhone 11 has Wide and Ultra-Wide lenses, while the 11 Pro and 11 Pro Max are equipped with three different lenses for Ultra-Wide, Wide and Telephoto camera settings.
If you open the iPhone camera app, you will see numbers at the bottom of your frame. These are the Zoom options and let you switch between the different lenses. If you tap on the 0.5x option, you will get the Ultra-Wide lens which allows you to capture larger landscapes, buildings or city skylines.
Tapping on the 1x button opens the Wide lens which is appropriate for most photography settings. Switching to the 2x Telephoto lens lets you capture a closer view of subjects in the distance. You can use this camera mode when it is physically impossible to get closer to your subject.
The first one is normal, while the next two are brighter and darker respectively. Your device then composes them together to create a vivid image with the correct exposure.
If you own an iPhone 11, this device has two extra camera settings that you cannot control: Smart HDR and Deep Fusion. Both of them try to use many images captured in a short amount of time to create the best one and maximise the fine details such as hair, fur, and texture in the photo.
To disable the Smart HDR camera mode, go to the iPhone camera settings and turn off the button. There is no switch for the Deep Fusion camera setting but you can disable it if you go to your iPhone’s settings, choose the Camera tab and enable the Capture Outside the Frame option.
To try the Portrait Mode, open your camera app and tap Portrait at the bottom of the screen. The camera automatically detects the background and blurs it.
In Portrait Mode, you also get to change the lighting in your photo through Portrait Lighting. By tapping the iPhone camera screen, you can make your image look like you took it at a stage or even a studio.
Stage Light Mono.
If you don’t want to add any lighting effects, then choose the default iPhone setting Natural Light. To create moody portraits, you can try Contour Light. For professional-looking results, you can select Stage or Studio Light.
The iPhone camera evolves continuously. Always take your time to learn about the new features your device offers and how to use them effectively.
Remember that there’s almost no limit for what you can do when you combine photography skills and creativity with technology.
For more information on iPhone camera settings check out how to use live photos or portrait camera mode next!
For photography tips on-the-go, try our Quick Capture Cheat Sheets!Visitors to my Music page know I’ve produced many tracks for multimedia. Theme songs, spot cues, drops/bumpers, etc. However, the closest to a complete score that I’d recorded was for my 2006 short film Featurette, clocking in at a mere 19 minutes. Then came an opportunity to compose for a new serialized horror podcast called LARKSPUR UNDERGROUND. We’ll get down and nerdy in a bit, but first the story.
In late January of 2014, the Colorado Sheriff’s Department investigated a call of a strange odor coming from a remote ranching compound outside of the tiny town of Larkspur, Colorado. Upon investigating, they uncovered a fallout shelter that had been converted into a brutal torture and murder facility. Over a dozen victims were found at the scene in various states of decay. While finishing the first day of investigations, one of the deputies was cataloging evidence near a body that was chained to a radiator. To his shock, the woman was still alive.
She became known as Jane Doe, the Larkspur Lady, the only survivor of what had been a two-year spree of murder and carnage by a man known only as The Scientist. After recovering in the hospital, she began to work with authorities to help them uncover as much about these crimes as possible in the hopes of bringing The Scientist to justice. Things took a strange turn when it was revealed that she had not only been his victim, but also an accomplice in several of the murders. She was quickly tried and convicted of manslaughter for her role in the crime.
Since that day, the Colorado Innocence Coalition has been working to free her. Podcast host Tara Bay has been with the Coalition since they took on the case. She is a tireless advocate for Jane Doe, seeing her as a woman who was suffering from Stockholm Syndrome, an unwitting pawn in the hands of a madman. After months of work from a dedicated team of attorneys, Jane Doe won a new day in court. Her conviction will be overturned soon.
In conjunction with Plainview Public Radio, Tara Bay has created the show Larkspur Underground to present the life of Jane Doe. The media has had plenty to say about the presumed guilt or innocence of Jane Doe. Tara Bay has been there almost since the beginning, and is using her exclusive access to bring you the full story so that you can decide for yourself.
So … you’re saying it’s my job to creep out listeners? Please and thank you! Doing a horror project was on my bucket list (the imaginary one conjured for this post), so I signed an NDA, devoured the scripts, and got to work. First I went through and “spotted” all of the sequences I thought could benefit from an underscore. The nature of the material demands tension and discord, but there were a few opportunities for lighter moments, station imaging, and some diegetic music (that which is heard by the characters).
• I wanted it to be entirely electronic, in-the-box MIDI, with vintage-inspired synths and effects. Minimal use of drum set.
• It still needed a strong rhythmic pulse, however, achieved through extensive arpeggiators, echoes, and sweeps.
• I would deliver the songs like a stock-music album, with tracks designed and named for specific scenes, but left up to the producer to implement.
Villains as sinister as our guy deserve their own motif. It’s a neutral, dull-attack riff, but that unsettling element you can’t … quite … place … is the 5/4 time signature. Sure, on one hand we’ve got the pursuit of our fugitive, but he’s really the predator, and that’s what I was thinking about: this car-as-shark roaming the desert highway at night, world visible only in its hi-beams. A little CHRISTINE-ish in hindsight, but at the time I was feeling a MIAMI VICE groove. Maybe the shark became a dolphin, who knows, but blessed restraint prevented me from embarrassing myself with a screaming Jan Hammer solo. Then listeners would be picturing cocaine and Testarossas instead of injections and cargo vans. So, I kept this one simple; I think it’s only three or four tracks. The second half builds with some choral “scream” swells that respond to each “stab” I’d previously established. This motif is reprised in a more developed form in later episodes.
Some have said the music reminds them of DRIVE by Cliff Martinez, or even STRANGER THINGS, and I won’t deny either influence. More about the score in a bit.
Michael Gonzalez created and produces the podcast. I first got to know Mike on the forums at Chuck Palahniuk’s fan site, from which several new online writing communities blossomed. We’ve long supported each other’s creative efforts, through workshopping and promoting books, even crewing an abandoned short film together. After last week’s premiere, I asked him a few questions to shed some light on the process.
Gordon Highland: You should be really proud of this. I’m already getting glowing messages from people, and I’m just the piano player! With that in mind … what do I tell folks who ask whether this is true-crime or fiction?
Michael Gonzalez: Thanks for the kind words, piano monkey! I tell anyone who asks that it’s fiction. I would never personally present the show as something that actually happened. That said, I’m treating it like an Augmented Reality Experience, so people who approach the show’s Facebook or Twitter page with questions will effectively be in the world of the show. I hope it feels real enough that people are dying to google the events portrayed.
I’ve been thinking about creating a podcast for a long time, and was deeply inspired by shows like LIMETOWN and THE MESSAGE, which present themselves as reality while accurately being categorized under Performing Arts in podcast directories. I do like to blur