1. Do Cell Phones Really Work for Stock Photography?
Today’s cell phones capture fabulous photos that work well in many graphic design projects. The era of the cellphone stock photo officially dawned when iStock started accepting cell-phone images in 2012. Alamy, an agency that performs stringent image inspection, rescinded its ban on cell phone captures in 2014. The same year, Fotolia announced a $5,000 prize for the best iPhone image. Stock photo agencies are notorious for rejecting images they deem not up to par with their quality-control standards. So their change of mind on cell-phone photos speaks volumes.
“The era of the cell phone stock photo officially dawned when iStock started accepting cell phone images in 2012.”
Can Cell Phones Compete with DSLRs?
Let’s be clear: cell phones are not going to replace professional, high-tech DSLRs. However, cell phones are improving and the images are now rivaling those produced by DSLRs . . . well, 10-year-old DSLRs. In reality, cell phones will never take over because standalone digital cameras lead the way in technological innovation and development. That cutting-edge technology only trickles down to cell phones several years later. There is no way the tiny lens and sensor, only part of the functionality of a incredibly compact electronic device, can outperform contemporary DSLRs, with bulky lenses and bodies that are made to perform just one function: taking photos.
Samsung’s S5 and Apple’s iPhone 6 have multi-element lenses (meaning they feature an assembly of several lens components) with a 4.8mm focal length and an f/2.2 aperture. Samsung’s S6 jacked it up to f/1.9. Seasoned DSLR users should not be misled by these numbers, though. A focal length of 4.8mm sounds very, very short—but when put on a tiny sensor (only 4.8mm long), the field of view (FOV) appears to be the equivalent of a 35mm lens on a full-frame sensor. That’s a very comfortable FOV for general photography. Likewise, apertures of f/2.2 or f/1.9 imply very shallow depth of field (DOF) on a full-frame DSLR. But with the exceptionally short focal length, the DOF is actually, again, quite comfortable. It is important to note that the apertures on cell phone cameras are fixed.
To control the duration of the exposure (the shutter speed), cell phone cameras use either mechanical or electronic shutters. Like its focusing mechanism, the mechanical shutter in Samsung’s Galaxy series is built with microelectromechanical technology (MEMS). This shutter has 36 tiny bimetallic leaves. These leaves curl and straighten when different voltages are applied, a motion caused by the different characteristics of the metals. These motions are used to open and close the shutter. Apple’s iPhones, on the other hand, employ an electronic shutter. This switches the sensor itself on and off to achieve the exposure. From the impressive performance of cell phone cameras from both makers, we can conclude that both shutter styles are good solutions.
All that said, we can turn some of the supposed “limitations” of the cell camera to our advantage and use the device to create great-looking, salable images. And, in fact, we’ll find that cell phone cameras actually do beat out DSLRs in a few ways. Let’s look at a few of those upsides.
First is the ease of use. A cell phone is literally a flat live-view screen. Shooting with a cell phone frees the photographer’s face from the viewfinder and reduces the natural tendency to shoot at eye level. That alone can lead to more refreshing perspectives. Look around and see how a photographer can “dance” with her cell phone. This makes capturing images with a cell phone much more versatile and flexible than shooting with a DSLR.
“The automatic features on cell phone cameras are now so robust.”
A second advantage of shooting with a cell phone is that the automatic features on cell phone cameras are now so robust. The camera usually sets the ISO and shutter speed (again, the aperture is not adjustable on cell phone cameras) in a very smart, accurate manner. When occasions arise for which the settings need to be customized, there are also camera apps that allow you to shoot with manual settings.
“From time to time, all photographers regret missing great images—simply because they didn’t have a camera with them at the moment.”
Another minor advantage of shooting with a cell phone is the small lens opening. Unlike bulky DLSR lenses, this enables the cell phone camera to peek through a small hole without partially blocking the view. This is particularly helpful when photos need to be taken through a fence.
Analyzing hundreds of shots made on a Samsung with its native camera app in the auto exposure setting, I have concluded that it is programmed to use the lowest ISO possible, balancing the exposure by adjusting the shutter speed within a 
to 
second range. Only under low-light conditions, when the shutter speed dropped to the slowest possible setting, did the ISO start to increase beyond 640. In moderate lighting conditions, it favors 
second, while keeping the ISO as low as possible. As the light increases, it drops the ISO to 40 before the shutter speed goes above 
second. At second and faster, it is all ISO 40.
The auto exposure mode on an iPhone 6, similarly, keeps the ISO settings as low as possible. When the light is low, it favors a shutter speed of second and starts to increase ISO from its minimum of 32 only when the shutter speed drops below second. Unlike Samsung’s S5 which maintains the lowest shutter speed at second, the iPhone 6 allows shutter speeds to drop to 
second, which is not suitable for handheld shots; there is a substantial risk of motion blur. However, the iPhone’s top shutter speed (thanks to its electronic shutter) is much faster than on the Samsung—it goes as fast as 
second!
Image 1–1. A tiny cell phone lens can photograph through a jumble of twigs without being blocked.
Image 1–2. Very often, the best views from a bridge are blocked by a wire fence. While a DLSR would fumble here, the fence is not a problem for a cell phone camera.
“This is particularly helpful when photos need to be taken through a fence.”
And the biggest advantage? Your cell phone is always there! Most cell phones owners are intimately attached to their devices and can instantly access them from their pockets, holsters, or purses. From time to time, all photographers regret missing great images—ones that might have made them rich and famous—simply because they didn’t have a camera with them at the moment. No more excuses!
Great photo ops manifest themselves around us at unexpected moments. Out of nowhere, the reflection of the setting sun on an office building (one you stare at every day while waiting for the bus) transforms it into a glorious symbol of commerce—stop texting and start composing! The familiar neighborhood running trail is flourishing with toadstools today—snatch the shots while the music continues playing in your earbuds. Stuck in rush-hour traffic? Ask your carpool driver to open the moon roof and stick your cell phone out to photograph the endless line of cars with all their tail lights turned on. Somewhere, sometime, a graphic designer working on an article about corporate America, a blog about medicinal mushrooms, or a report on carbon emission from automobiles is going to take a serious look at these shots.
“Composition is to photography as grammar is to language.”
Composition is to photography as grammar is to language. Grammar provides rules that help speakers, readers, and writers communicate more effectively. Using these rules, we can place words and phrases into sentences and feel secure that others will understand what we mean. Photographers use compositional elements in the same way—to assemble all the components of an image so it will convey a certain quality and evoke an anticipated reaction from the viewers.
Stock photography is special in that the image will then (hopefully!) be discovered by another artist and recomposed with additional elements in a secondary graphic project. That means our initial compositions have to communicate to a collaborator—one who happens to be, in most cases, a total stranger. To appeal to these artists/buyers, we need to compose our images with a particularly strong eye toward conveying a message. This does not mean we should play it safe and use only the conventional compositions. Graphic designers are like us—they have all kinds of tastes and all kinds of personalities!
DSLR or Cell Phone Camera: The Rule of Thumb
Now that we know the roles that DSLRs and cell phone cameras play for a stock photographer, a general rule for their usage is naturally formed. If there is a plan for a project—that may involve recruiting models, scouting a location, and setting up props—there is no reason we should show up with a cell phone camera. Shooting that session with a DSLR is clearly the right choice. When we walk on the street, tour the museum, or drive home from work and suddenly encounter a stunning photo op, a cell phone camera is there to save the day. Therefore, the examples you see this book do not represent the entire breadth and depth of stock photography. Instead, we’re going to look at how cell-phone photography can fill in the gaps and enhance your overall catalog of stock images.
Image 1–3. KEYWORDS: desert; sand; sand dune; dune; Death Valley; dawn; photographer; mountain, Nevada; national park; nature; park. (More on keywords in chapter 2)
Image 1–4. KEYWORDS: bay; bubble; cloud; cruise; good weather; mountain; reflection; see; ship; sky; splash; spray; sunny; wake; wave. (More on keywords in chapter 2)