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The iPhone 16 Pro can take excellent images of its three rear cameras. He has seriously impressed us with his photos in any condition and that is, nothing of his impressive 4K slow camera. Its multiple crystalline lenses and new photographic styles offer a lot for the most demanding photographers. He even launched a strong fight against the best camera phones, including the Ultra Galaxy S24, Pixel 9 Pro and Xiaomi 14 Ultra.
Read more: iPhone 16 Pro Toma Xiaomi 14 Ultra
But it is not yet the perfect camera. As an experienced phone reviewer and a professional photographer, I have exceptionally high expectations for high -end telephone cameras and, having used the iPhone 16 Pro since its launch, I have some ideas about what you need to change.
These are the main points that I want to see improved on the iPhone 17 when it is probably launched in September 2025.
Larger image sensor
Although the 1/1.28 -inch sensor found in the main camera of the iPhone 16 Pro is already in a good size, and marginally larger than the 1/1.33 inches sensor of S24 ultra, I want Apple to go larger. A larger image sensor can capture more light and offer a better dynamic range. That is why PRO cameras tend to have at least “full frame” image sensors, while high -end cameras, such as the incredible Hasselblad 907x, have huge “average format” sensors for pristine quality .
Even in Pro cameras, sensor size is important. Even the full frame image sensor in the middle is committed to the middle format sensor to the right. The phone camera sensors do not approach this size.
Xiaomi understands this, equipping its 14 ultra with a 1 -inch type sensor. It is bigger than the sensors that are in almost any other phone, allowing the 14 ultra to take impressive photos in a variety of conditions, including Taylor Swift concerts. I am anxious to see Apple at least match the Xiaomi phone here with a similar 1 -inch type sensor. Although we are talking about cake wishes in the sky, perhaps the iPhone 17 could be the first smartphone with a complete frame image sensor. I will not endure my breathing on that: the phone and the lenses would have to be immense to accommodate it, so it is probably more efficient to let it make calls with their mirror without a mirror.
Variable opening
Speaking of the Xiaomi 14 Ultra, one of the other reasons why the phone is so difficult for photography is its variable opening in the main camera. Its broader opening is F/1.6, significantly wider than F/1.78 of the iPhone 16 Pro. This broader opening ceases a great light in the faint conditions and achieves the Bakeh out of focus more authentically around a subject.
The street light outside this pub has become an attractive star stay thanks to the variable opening of the Xiaomi 14 ultra.
But Xiaomi’s opening can also close AF/4, and with that narrower opening, it is able to create stellar around the points of the light. I love achieving this effect on night images with the phone. It makes the resulting images look much more like those taken with a professional camera and lens, while the same points of light on the iPhone resemble round spots.
More photographic styles
Although Apple has had several styles and effects integrated in the iPhone cameras, the iPhone 16 range took it beyond, with more control over the effects and more toning options. It is enough that the senior editor of CNET, Lisa Eadicicco, even declared the new photographic styles its “new favorite feature on Apple’s last phone.”
I think they are also great. Or rather, they are a great begin. The different color tones, such as those you get with the Amber and Dorado styles, add a little lovely warmth to the scenes, and the quiet effect adds a vintage film fading, but there is still not much to choose from. I would love to see Apple introduce more photographic styles with different color toning options, or even with tones that mimic Kodak or Fujifilm vintage films.
I like the warmer tones produced by the amber style of the iPhone in this image, but I would definitely would like to see more options to be creative with color tones.
And of course, there are many third -party applications such as VSCO or Snapseed that allow you to play with color filters everything you want. But using Apple’s styles means that you can take your images with the look already applied, and then change it later if you don’t like it, nothing is baked in your image.
Better Proraw integration with photographic styles
However, I think Apple has lost a little chance with its photographic styles, since you can use them only when you take images in Heif (high efficiency image format). Unfortunately, you can’t use them when you shoot in Poraw. I love the use of Apple of Poraw in previous iPhones, since it takes advantage of all the computational photographs of the iPhone, including things such as the mixture of HDR images, but still generates a RAW DNG file for an easier edition.
The DNG file generally also offers more latitude to cheer up dark areas or tone reflexes in an image, which makes it extremely versatile. Previously, Apple’s color prejections could be used when firing in Poraw, and I loved it. I frequently filmed street style photos using the high contrast black and white mode and then edited the without processing more.
I take many black and white street photographs, and I would love more flexibility to take Poraw photos in monochrome.
Now, using that same black and white look means just shooting images in Heif format, eliminating the benefits of using Apple proraw. Interestingly, although the oldest “filters” are no longer available in the application of the camera when taking a RAW image, you can still apply those filters to the RAW photos in the application of the iPhone gallery through the menu of edition.
LUTS FOR PRORES VIDEO
And while we are on the subject of prejustes and color filters, Apple also needs to take them to the video. On the iPhone 15 Pro, Apple introduced the ability to film videos in prores, which results in a very low contrast and almost gray footage. The idea is that video editors will take this gross footage and then apply their editions at the top, often applying color contrast and prejustment known as LUT (search tables) that give the images a particular aspect: think Dark and blue for horror movies or warm and light tones for a romantic drama atmosphere.
But Apple does not offer any type of LUT to edit the Video Prores on the iPhone, beyond simply increasing the contrast, which does not really do the job correctly. Of course, the objective of Prores is that he would eliminate that footage of the iPhone, would place it in software like Davinci Resolve, and then properly qualify the footage to look elegant and professional.
The prore footage seems very low contrast and delayed. Apple needs to introduce ways to help you do more with priers files on the iPhone.
But that still leaves the files on his phone, and I would love to be able to do more with them. My gallery is full of non -accumulated video files with which I will do very little because they need color classification externally. I would love to share them on Instagram, or with my family on WhatsApp, after transforming those monotonous and gray to wonderfully color.
With the iPhone 17, or even with the iPhone 16 as a software update, I want to see Apple creating a range of its own LUT that can be applied directly to the prore video files on the iPhone.
If Apple could implement all these changes, excluding, perhaps, the full frame sensor that I can even admit that it is an ambitious touch, it would have an absolute beast of a camera in your hands.
