I Was Wrong About Wanting the iPhone Duo

Well, that didn’t take long.

Less than 24 hours after thinking the iPhone Duo could be exactly what I needed, I’ve changed my mind.

On paper, I loved the idea. One device potentially doing the job of two: my phone and my iPad.

The biggest attraction was taking less kit on a shoot. If I could use the Duo for tethering, I could leave the iPad at home. Less to think about, less to charge and less to carry.

It appealed to me for travelling, too. A larger screen that folds up and fits in my pocket would be much more convenient than carrying my 13-inch iPad Pro.

I could already see how it might fit into what I do.

But then I read the comments in the Photography Community.

Some folks raised points that got me questioning my decision, so I did more digging. That included watching videos from Marques Brownlee and Proper Honest Tech. I subscribe to both channels, but I’d initially missed their videos.

They highlighted the benefits, but also got me thinking properly about what I’d be giving up.

For me, the biggest sticking points are the camera and Face ID.

Looking at Apple’s specifications, here are some of the differences between the Duo and the iPhone 18 Pro models:

• No dedicated telephoto camera. The Duo has main and ultra-wide cameras, with a 2x option using the main sensor. The 18 Pro models also have a dedicated 4x telephoto, with an 8x “optical-quality” option.

• No Apple ProRAW. The Duo lists HEIF and JPEG capture, while the Pro models also offer ProRAW.

• No variable aperture on the main camera. The 18 Pro models have this, while the Duo has a fixed aperture.

• Touch ID instead of Face ID. The Duo uses a fingerprint sensor in its side button.

• No Action button. Another difference from the Pro models.

The Duo’s main camera is still 48MP, but that doesn’t mean it’s the same camera as the Pro Max. For me, the bigger issue is losing the dedicated telephoto and Apple ProRAW. Those are options I want available, both for my own photography and when I’m teaching.

You can see the full details in Apple’s specifications for the iPhone Duo and iPhone 18 Pro models.

Those comparisons are with the new 18 Pro models, and I’m currently using a 17 Pro Max. So there are two decisions here: whether the Duo would suit me, and whether I need to upgrade my phone at all.

The camera is what really made me reconsider.

I now have the Fujifilm X100VI (thank you, Steve), and I intend to use that more for photography instead of automatically reaching for my iPhone, but that doesn’t mean I’ll stop taking photographs with my phone.

I’ve taken photographs with my iPhone that I’m really proud of.

There’ll also be times when I don’t have the Fuji with me, so my phone will be the camera I use, and when that happens, I want the best results I can get, with the flexibility that matters to me as a photographer.

Giving up camera features to gain a folding screen feels like a step backwards for how I work.

There’s the teaching side to consider, too.

I’m starting one-to-one and three-to-one workshops, with half-day and full-day options covering photography, lighting and retouching, as well as iPhone photography.

I want to be able to demonstrate the features and approaches I’m teaching. Moving to a phone without some of those options would limit what I could show, particularly when it comes to the Pro camera features.

Then there’s Face ID.

It works so well that I barely think about it. Unlocking my phone, opening banking apps... it’s something I use throughout the day without giving it a second thought.

I hadn’t realised how much I take it for granted until I considered going back to Touch ID.

For the number of times I open my phone each day, I think I’d find that tedious. It might sound like a small thing, but it’s a small thing I’d notice over and over again.

So, where does that leave me?

Do I need to upgrade from the 17 Pro Max to the 18 Pro Max?

Hmmm... honestly, I don’t know.

But I’m starting to wonder whether changing my iPad would solve more of the problem.

What if I traded in my 13-inch iPad Pro and went for an iPad mini instead?

Something smaller, lighter and easier to carry on shoots and when travelling.

It’s certainly an option I want to explore.

Yes, it’s still two devices; it’s still an iPhone and an iPad to charge and carry, but maybe that’s just how it’s got to be for me.

Do you have an iPad mini? Have you used it for tethering on shoots?

I’d love to hear how you get on with it. Is the screen big enough in practice? If you’ve moved from a larger iPad, do you miss it?

Let me know in the comments.

Your thoughts have already helped me reconsider one decision... they might help me get the next one right.

Has Apple Made Us Question Every “Real” Photo?

When Apple announced the new iPhone 18 Pro and Pro Max, they also introduced something that, as a photographer, I'm definitely interested in. It's called Apple Reference Image, and the idea is to give us stronger evidence about where a photograph came from, as in whether it's real or not.

I can see some real benefits to that, particularly when somebody looks at a photograph and immediately dismisses it as AI, but there's one detail that raises a few questions; it's optional. You have to choose to use it.

So what happens when somebody doesn't? Have they got something to hide, did they forget to switch it on, or were they simply using a camera that doesn't offer it? That's the part I think we need to talk about alongside the technology itself, because how we interpret this could be just as important as what it does.

What Apple has actually announced

Apple says the iPhone 18 Pro's main camera captures signed sensor data in reference mode, and its Private Cloud Compute system then develops that into an unaltered reference image. You can view that reference alongside the main photograph in Photos and compare the two, and Apple has also announced support for developers to enable reference viewing in other apps.

There are launch restrictions too. Reference capture won't initially be available in the EU, and it won't be available at all in China.

The useful idea here is having something to go back to when you want to examine a finished picture, but a comparison isn't necessarily a complete record of every editing step. I wouldn't assume we'll get a list telling us which tool was used, in which application and in what order.

Where it could help

Imagine you've made a photograph of something unusual. Perhaps the light was extraordinary, or you happened to catch a moment that looks almost too good to be true. You share it and somebody says straight away that it's AI, and at that point "no it isn't, I was there" might not get you very far.

A trustworthy reference could give you something more useful to put in front of them, but it won't make everybody believe you. Some people have already made their minds up, whatever evidence you show them; for somebody who actually wants to examine the picture, though, additional evidence could help.

I can also see a potential benefit for picture editors and clients. If the question is whether something significant has been added or removed, being able to compare the finished picture with a trusted reference could make that conversation a lot clearer.

Editing isn't the same as dishonesty

This is the part that interests me most, because I spend a lot of my time teaching Photoshop and Lightroom. Editing a photograph doesn't, by itself, tell you whether somebody is being dishonest.

Take a portrait. I might adjust the white balance, lift the shadows, remove a temporary blemish, or go quite a bit further than that. Those are changes, of course they are, but what matters is what the photograph is for and what the changes actually do and what I'm telling you about it.

If I remove a person from a news photograph, that could change your understanding of what happened entirely. If I make a composite and tell you it's a composite, you're being given the information you need to understand the work. That distinction matters.

So I'd like to see tools like this encourage more useful conversations about editing. What changed, did it alter the meaning, and was the picture presented honestly? Those questions tell us far more than simply asking whether Photoshop was involved.

The trouble with voluntary

My first concern is that the people who want to show how their pictures were made have a reason to take part, whilst somebody who wants to conceal what they've done can simply choose not to. That doesn't make the feature pointless, but it does limit what we can conclude from it. We could end up with some pictures that have supporting evidence and many more where we still don't know, and the danger is how quickly "we don't know" turns into "it must be fake".

Imagine somebody captures a really important moment but hasn't enabled the feature. Perhaps they didn't know it existed, or didn't expect to photograph anything important that day; they saw something happening, picked up their phone and took a picture, which is hardly unusual behaviour. Should we trust their photograph less because they didn't think about authentication beforehand? I'd be very uncomfortable with that.

Then there are people using older phones, different cameras or equipment that simply doesn't support this system. Their photographs don't become less honest because somebody else bought a newer phone, and I wouldn't want us drifting towards a situation where you're expected to own certain kit just to have your work taken seriously.

The obvious response is to have it switched on for everybody, and that's a fair point, but I also understand wanting a choice. People use their cameras for all sorts of things, family pictures and visual notes and creative experiments and work in progress, and they may not want an extra reference workflow attached to everything they shoot.

Before deciding whether it ought to be on by default, I'd want to understand the practical experience. What happens when you've got no connection, how much extra storage is involved, and how long does the process take? Those are questions worth testing, and I'm not suggesting they're established problems. If something is easy to use and clearly useful, people have a reason to adopt it; if it adds confusion or friction, a lot of people won't bother.

What happens after you press the shutter

There's also the journey a photograph takes after it's been made. You might edit it, export it, send it in a message, upload it somewhere, or have somebody else download it and pass it on. What happens to the supporting evidence along the way? Can the person at the end find it, can they view it with the software they already have, and will they understand what they're looking at?

A feature can work perfectly for the photographer and still be of limited value to the viewer if the evidence is hard to get at. That's something I'd want to test properly, taking a photograph through a normal editing and sharing workflow and then seeing what the recipient can actually check.

I'd also want to see how clearly the interface separates missing evidence, a failed check and a successful check, because those are completely different situations. If they all get read as a simple real or fake verdict, we're going to create a lot of confusion.

A true photograph can still mislead

There's one final limitation that no amount of enthusiasm about authentication should make us forget; a camera can faithfully photograph a misleading situation. I can stage a scene, choose a viewpoint that leaves out something important, or put an inaccurate caption underneath.

Imagine I photograph a small group of people waiting outside a building. One caption says they're waiting for it to open, another says they're protesting against its closure. Same picture, completely different stories, and checking where the image came from doesn't by itself tell you which caption is accurate.

That's a recognised limitation of photo provenance more broadly; evidence about an image's history can't, on its own, establish whether the content is factual. We still need context, which means asking who published the picture, what they're claiming, and what other evidence supports it.

Where that leaves me

I'm definitely interested, and I can't wait to see how it works in practice. Giving photographers a stronger way to support their pictures could be really valuable, and so could making it easier to examine meaningful changes, but I think we need to be careful about what we conclude.

If a reference image is available, use it as evidence and understand what it does and doesn't establish. If it isn't, ask questions rather than jumping straight to an accusation.

For me, that's the biggest concern with the voluntary approach. The people who opt in may gain a useful way to support their work, whilst everybody else could find themselves under suspicion for no good reason.

My iPhone Made Me a Better Mirrorless Photographer

It sounds like an unlikely claim; smartphone making you better with a professional camera system, but for me, it is exactly what happened, and the journey that brought me there started in the strangest of circumstances: a global pandemic, an empty coastline, and a camera bag I eventually stopped reaching for.

When Lockdown Pushed Me Towards the Coast

Portrait photography is what I do, it’s the heart of my work, but in the early days of the COVID pandemic, with people unable to gather, I needed an outlet. I needed to get out and stay creative. Fortunately, the nature of my work meant I had the permission to do so, even when so many others could not.

So I turned to landscapes, and more specifically, seascapes. I headed to the coast with my Sony A7R IV, invested in filters and all manner of specialist kit, and prepared to throw myself into a new discipline. What I found instead though, was that I had thrown myself into a wall.

The Problem with Too Much Kit

The gear was overwhelming. I was new to landscape photography, new to reading the light in that environment, and new to the entire creative process involved.

Instead of being absorbed by the scene in front of me, I was absorbed by the technical decisions.

Which filter? What exposure? How do I handle this brightness range?

The equipment that was supposed to help me create better images was, in practice, creating a barrier between me and actually photographing the scene.

Out of frustration more than strategy, I started leaving the heavy camera bag in the car when I first arrived at a location. I would take my iPhone and simply walk, scout, and look for compositions before going back to collect the proper gear.

But, what was meant to be a workaround, turned into a revelation.

When the iPhone Stopped Being a Scouting Tool

The images I was capturing purely for composition reference were genuinely looking good; not just useful as guides, but good in their own right.

That realisation shifted everything. Suddenly, the iPhone was not just a note-taking device; it had become a creative challenge: could I get a shot with my mirrorless that was meaningfully better than what I had already captured on my phone?

That question drove me forward, and over the years that followed, I found myself thoroughly absorbed in seascape photography, increasingly using the iPhone as my primary tool at the coast. My portrait work never wavered, that always remained with my mirrorless system, but for the seascapes, the iPhone became its own discipline.

Reexpose and the Long Exposure Workflow

A big part of what made this work was discovering the Reexpose app. Long exposure photography, the kind that smooths water into silk and turns crashing waves into mist, had always required filters, tripods, and careful technical management with my mirrorless. With Reexpose on the iPhone, I could achieve genuinely compelling long exposures without any of that overhead.

This is the nature of computational photography. The iPhone handles so much of what would otherwise require deliberate technical decisions, and for a long time, I thought that was the whole story. Remove the friction, get the shot, enjoy the process.

But what I came to understand was that the phone was doing something far more valuable than saving me time.

What the iPhone Was Actually Teaching Me

Without the weight of technical decisions pulling at my attention, I began to truly absorb my surroundings. The sights, the smells, the sounds, the feeling of being somewhere specific at a specific moment. I was learning to read light not as a technical problem to solve but as something to feel and respond to. I was developing an instinct for composition that no amount of deliberate study had given me.

The iPhone removed the friction that had always sat between me and pure creative engagement, and in doing so, it allowed me to build a visual language and a sensitivity to light that I was then able to bring back to my mirrorless work.

The technical side of things, the things I had found so overwhelming at the start, began to feel natural; not because I had studied harder, but because I had spent years simply being present with the subject, free from distraction. The craft followed the instinct, rather than fighting against it.

The Lesson for Any Photographer

Don’t get me wrong here … I’m not suggesting everyone should put down their camera and reach for their phone. What I am suggesting however, is that whatever removes the barrier between you and creative immersion is worth taking seriously, regardless of how unconventional it looks.

For me, it happened to be seascapes with an iPhone during a pandemic. For you, it might be something else entirely. But the principle holds. When you can stop thinking about the tool and start thinking about the image, something shifts, and that shift stays with you, long after you pick the bigger camera back up.

The iPhone did not replace my mirrorless photography, it made it better, and I suspect it will keep doing so for a long time yet.

2 Day Cornwall Photo Road Trip with just my iPhone

Two Days on the Road: Cornwall & North Devon – Shot Entirely on iPhone

On the morning of July 26th, my friend Andy Hughes pulled up outside my place ready for two days of coastal exploring. Andy’s someone I first met through my Photography Community, and like so many photography friendships, it has quickly grown beyond just swapping images online. Now we were heading off on our first road trip together with cameras ready, or in my case, just one very capable phone.

This trip was going to be different. I left the heavy camera gear at home and relied entirely on my iPhone 15 Pro Max. For the long exposures, I used the Reeflex ReeXpose app, and for everything else, I shot in ProRAW with the native camera app. It was part challenge, part experiment … could I come home with portfolio-worthy shots using nothing but the phone in my pocket?

We hit the road towards North Devon, the playlist set, the weather promising clear skies and soft light.

Day One – Arches, Harbours & Evening Glow

Our first stop was Blackchurch Rock.

That iconic arch rises from the sea like something from another world. We timed our arrival with the tide and hung around, waiting for the light to hit just right. The ReeXpose app worked perfectly here, smoothing out the water and pulling movement from the clouds.

From there, it was on to Sandymouth; a stretch of golden sand with the kind of long, rolling waves that hypnotise you if you watch for too long. Light wasn’t great with it now being midday and a high sun with little cloud so instrad we sat, we had a cold drink and chatted enjyoing each others company.

The afternoon took us down to Boscastle, a small harbour village packed with detail; stone walls, colourful boats, and weathered textures everywhere you looked.

By evening, we rolled into Trebarwith Strand. The sea was glowing, the rock formations catching the last light of the day. Condioptns weren’t ideal but a little patience and I grabbed this shot of a surfer about to brave the battering waves…

Then it was time for some dinner (which was delicious) and then stepping outside Andy suggested we maybe take some shots of the incopming tide and wow … amd I glad he did because the conditions were stunning!

We then drove to Wadebridge and checked into the Premier Inn for the night which I have to say was spotless with quiet surroundings, and just the right amount of comfort after a day of climbing over rocks and chasing light.

Day Two – Lighthouses & Seals

The next morning, we were up early and heading for Trevose Head. The air was fresh, the waves were crashing, and the lighthouse stood tall against a blue sky. As we stood there framing shots, a seal surfaced just off the rocks. Beautiful andthe sort of unexpected moment you always hope for on a trip like this.

Before the drive home, we swung by Bude for breakfast. It was one of those meals that feels even better because you’ve earned it after days of fresh air, walking, and late nights on the coast.

Light, Patience & a Pocket Camera

Both days gifted us exactly what we were hoping for; perfect light, a touch of drama, and just enough waiting around to make the results feel even more rewarding. Shooting entirely on the iPhone was freeing. No heavy gear, no fuss … just ProRAW files for maximum editing control and the ReeXpose app for those silky long exposures.

Two days, five locations, countless photos, and one very good reminder: the best camera really is the one you have with you.

This Print came out PERFECT 😍 WORKFLOW EXPLAINED ✅

In this video I take you through the entire printing process from Lightroom to the Print explaining resizing, soft proofing, ICC profiles and the settings needed in the printing software to end up with a PERFECT PRINT!

JUNE 2025 UPDATE ‼️ REMOVE PEOPLE with ONE TAP + more in Lightroom Mobile 📱✨

June 2025 introduces Distraction Removal "People" and Scene Enhance to Quick Actions within Lightroom Mobile …

Project Indigo: Adobe Release NEW Pro Camera App for Mobile

A Research-Based Mobile Camera App

OVERVIEW

Project Indigo is a free experimental camera application developed by Adobe Labs, available for iOS devices starting from the iPhone 12 Pro and all non-Pro models beginning with the iPhone 14.

The app is intended as a platform for exploring advanced photography workflows on mobile devices. It combines traditional manual camera controls with computational imaging methods to improve photo quality and give users greater flexibility over how images are captured and processed.

Image Processing and Output

Unlike typical smartphone camera apps that rely heavily on automatic adjustments and stylised enhancements, Indigo emphasises subtle, globally tuned image processing. It also supports capturing both JPEG and RAW (DNG) formats, with computational benefits applied to both. This allows users to maintain editing flexibility while still benefiting from improved noise handling and dynamic range.

One of the core features of Indigo is its multi-frame image capture system. Instead of taking a single photo, Indigo records a short burst of up to 32 frames per shot. These frames are underexposed and then computationally aligned and merged to reduce noise and preserve shadow detail. This technique is applied even when shooting in RAW formats, uncommon for mobile photography apps, and the result of which enables cleaner, more editable files with fewer artifacts.

Manual Controls

The app includes full manual controls, giving users the ability to adjust:

• Shutter speed

• ISO

• Focus (including manual focus override)

• White balance (with both temperature and tint sliders)

• Number of frames to capture per burst

These settings allow photographers to fine-tune their exposure and image quality, and to optimize for different conditions such as low light or motion.

Specialised Shooting Modes

Indigo also introduces dedicated capture modes for specific photographic techniques. The Long Exposure mode allows users to create effects like light trails, or light painting using a mobile phone, without needing an actual long shutter time. This though I hasten to add is unlike Long Exposure in such apps as EvenLonger or ReeXpose where we simply choose a time period for the long exposure from 0.5 seconds up to Bulb Mode (ReeXpose) or 1 second to 24 hours (EvenLonger), and the app then creates the long exppsure.

Another feature, Super-Resolution zoom, enables extended zoom up to 10x on the 15 and 16 Pro Max model. It is model dependant how much you get however you can use it to pinch and zoom too and the results are actually impressive. This technology is definitely going to affect sales of add-on zoom lenses.

Super-Resolution zoom is active for 10x+ zoom levels, all the way up to 25x. What it does is it increases the effective resolution by 2x horizontally and vertically (4x in pixels). As a result of this, at 10x, instead of a 3MP image you get 12MP, and at 20x instead of 0.75MP you get a 3MP image

Lightroom Integration

For users working within the Adobe ecosystem, Indigo integrates directly with Lightroom Mobile. Images can be exported to Lightroom with a single tap. In the case of DNG files, Indigo embeds tone and color metadata that Lightroom can interpret and apply as default settings—though users retain full control to adjust or reset these as needed.

You can also set the Project Indigo camera to be used within Lighroom Mobile.

To do this make sure you have updated the Lightroom Mobile App. Once updated go the App settings from within the Lightroom Mobile App and then go to the EARLY ACCESS section and turn on the Use Indigo for Camera (Tech Preview)

Experimental Features

The app also includes access to experimental tools, that currently include AI DeNoise and Remove Reflections.

Personally I’d prefer to see these in the Lightroom Mobile App instead of inside the Camera App itself.

Planned Features and Roadmap

Looking ahead, Adobe plans to expand Indigo with several features:

• An Android version of the app

• Additional tone presets and photographic "looks"

• Support for portrait, panorama, and video capture

• Exposure and focus bracketing modes for use cases like astrophotography

INITIAL FEEDBACK

By far my favourite feature so far is the Super Resolution Zoom, but there are definitely things that I would want adding such as Burst Mode and a Long Exposure function that work very similar to EvenLonger and ReeXpose, so fingers crossed these appear sooner than later.

OVERHEATING

However, on release day I’ve already been receving feedback from folks saying that they are getting an overheating warning appear on their iPhone after only a short period of use.

This I discussed with the development team at Adobe during the time before this was released hen I was testing the app. I too noticed my phone getting much warmer than normal.

It was explained to me that this is in part due to the the fact that the App uses a different process when handling files in that it makes use of other hardware within the phone. Also because the heat dispersal of the iPhone 15 Pro Max which I currently have is known for not being good.

I have heard from folks using the 16 Pro Max and reporting the same warning appearing even though it has improved heat dispersal, so fingers crossed this is something Adobe are able to iron out in the near future.

Check out the official Project Indigo Blog Post for more information …

Photographing Cars with my iPhone 15 Pro Max

Now primariy I’m a Portrait Photographer however this past few weeks, for the fun of it, I’ve been experimenting with my iPhone to see how it would fare when taking pictures of my car … both still and moving.

So a few weekends back I met up with friends in South Wales and headed to Crickhowell; an area I’ve photographed in before when working on this Harley image …

kit used

For these car photographs I was using my iPhone 15 Pro Max along with …

• Polar Pro iPhone Case

• 67mm Filter Adaptor + 67mm Circular Polarising Filter

• ReeFlex Pro Camera App

The circular polariser is the car photographers secret weapon because of how effective it is in reducing / removing reflections in the car windows and on the bodywork …

I used the ReeFlex Pro Camera App purely so that I could use shutter speed and ISO to lock in the exposure that I wanted.

Here’s the ‘out of camera’ result …

Here’s the final retouched image which was done using Lightroom Desktop.

I also added a long exposure effect to the clouds using a technique in Photoshop which works really well however now I want to do the shoot again and capture it all ‘in camera’ using a long exposure app like ReeXpose or EvenLonger 😃

I also tried some panning shots and did get some results, however the ratio of keepers to rejects was very low.

I was trying to do this using the ReeFlex App and a Neutral Density Filter on the front of the iPhone so that I could lock in an exposed photographed at 1/30 second. However, the ReeFlex app at the time I did this did NOT have burst mode. This meant I was having to try to capture a single frame as I panned with the car passing at no more than 30 mph.

Here’s an edited result of what I managed to capture …

Later having shared this image online I spoke with a friend of mine who is a Professional Car Photographer. It was great to hear that he was impressed with the results expecially considering they were from an iPhone but he also gave me some settings that he and other pro car photographers use to capture a moving car.

My friend told me that moving car shots often see the car travelling at no more than 20 mph and that they also use a shutter speed of around 1/15 sec or 1/20 sec … but ALWAYS shoot in burst mode.

So armed with these settings I set about finding a pro camera app that would allow me to manually dial in the shutter speed but that also had Burst Mode; and the app I turned to was MOMENT.

I’ve yet to use the app in a planned car shoot however when in Germany a couple of weeks back I was waiting for a friend to pick me up and whilst waiting near a fuel station forecourt I attached the Variable Neutral Density Filter to my iPhone using the Polar Pro Case and Adaptor, and set the shutter speed using the MOMENT app.

I then simply took a burst of panning shots of passing cars as they negotiated a roundabout and drove away, which from my position would have meant them travelling around 20 mph.

Here’s some of the results …

So, yeah I’ve been very impressed with how the iPhone has dealt with this and the results I’ve managed to get.

Lots more experimenting and fun to be had!

ShiftCam ProGrip: The Best iPhone Photography & Video Grip?

Is the ShiftCam ProGrip the ultimate accessory for iPhone photography and videography? In this video I give you hands-on honest look both positive and negative of this iPhone Traditional Camera Style Grip; its ergonomic design, wireless charging, and enhanced grip to see if it truly transforms your iPhone into a pro camera setup. Whether you're a content creator, mobile filmmaker, or just love taking photos, this grip might be a game-changer!

🔹 What You’ll Learn in This Video:
✔️ Hands-on review of the ShiftCam ProGrip
✔️ Key features & benefits for iPhone photography & videography
✔️ How it enhances stability, ergonomics, and battery life
✔️ Is it worth the price?

📌 Check out the ShiftCam ProGrip and other Mobile Accessories I use here: ( LINK )

Mobile versus Mirrorless: Decisions to be made in 2025

Watch the recording of this LIVE Broadcast as I chat with my friend and Photographer Brian Matiash (Adobe Lightroom Team) and discuss using Mobile devices for Photography.

Should I continue doing so in 2025? Lenses and Filters for Mobile, What I’ll be using my Sony Mirrorless for, What do I make of the OM1 MK2 and a whole lot more ...

links mentioned in the video:

• Brian Matiash Website: ( LINK )

• Brian Matiash YouTube Channel ( LINK )

• Glyn’s Lyme Sunset Picture + Edits in the Lightroom Community: ( LINK )

NOTE
If you’d like any of your images to be considered for one of my ‘LIVE RetouchingBradcasts’ simply create a Collection (Lightroom Classic) or an Album (Lightroom Desktop) and Share it with me at gadewis@mac.com making sure that you set permissions to Edit and not just View.