Technologies
I Need Apple to Make the iPhone 17 Cameras Amazing. Here’s What It Should Do
Commentary: After a lackluster WWDC, Apple needs to bring the razzle dazzle with the iPhone 17. Here’s how it can do just that.
Apple’s WWDC was a letdown for me, with no new hardware announced and few new features beyond a glassy interface for iOS 26. I’m pinning my hopes that the iPhone 17 will get my pulse racing, and the best way it can do that is with the camera. The iPhone 16 Pro already packs one of the best camera setups found on any phone, it’s capable of taking stunning images in any conditions. Throw in its ProRes video, Log recording and the neat 4K slow motion mode and it’s a potent video shooter too. It even put up a strong fight against the other best camera phones around, including the Galaxy S25 Ultra, the Pixel 9 Pro and the Xiaomi 14 Ultra.
Read more: Camera Champions Face Off: iPhone 16 Pro vs. Galaxy S25 Ultra
Despite that, it’s still not the perfect camera. While early reports from industry insiders claim that the phone’s video skills will get a boost, there’s more the iPhone 17 will need to make it an all-round photography powerhouse. As both an experienced phone reviewer and a professional photographer, I have exceptionally high expectations for top-end phone cameras. And, having used the iPhone 16 Pro since its launch, I have some thoughts on what needs to change.
Here are the main points I want to see improved on the iPhone 17 when it likely launches in September 2025.
An accessible Pro camera mode
At WWDC, Apple showed off the changes to the upcoming iOS 26 which included a radical change to the interface with Liquid Glass. But that simplified style extended to the camera app too, with Apple paring the interface down to the most basic functions of Photo, Video and zoom levels. Presumably, the idea is to make it super easy for even the most beginner of photographers to open the camera and start taking Instagram-worthy snaps.
And that’s fine, but what about those of us who buy the Pro models in order to take deeper advantage of features like exposure compensation, Photographic Styles and ProRaw formats? It’s not totally clear yet how these features can be accessed within the new camera interface, but they need to not be tucked away. Many photographers — myself very much included — want to use these tools as standard, using our powerful iPhones in much the same way we would a mirrorless camera from Canon or Sony.
That means relying on advanced settings to take control over the image-taking process to craft shots that go beyond simple snaps. If anything, Apple’s camera app has always been too simple, with even basic functions like white balance being unavailable. To see Apple take things to an even more simplistic level is disappointing, and I want to see how the company will continue to make these phones usable for enthusiastic photographers.
Larger image sensor
Though the 1/1.28-inch sensor found on the iPhone 16 Pro’s main camera is already a good size — and marginally larger than the S24 Ultra’s 1/1.33-inch sensor — I want to see Apple go bigger. A larger image sensor can capture more light and offer better dynamic range. It’s why pro cameras tend to have at least «full frame» image sensors, while really high-end cameras, like the amazing Hasselblad 907X, have enormous «medium format» sensors for pristine image quality.
Xiaomi understands this, equipping its 15 Ultra and previous 14 Ultra with 1-inch type sensors. It’s larger than the sensors found on almost any other phone, which allowed the 15 Ultra to take stunning photos all over Europe, while the 14 Pro was heroic in capturing a Taylor Swift concerts. I’m keen to see Apple at least match Xiaomi’s phone here with a similar 1-inch type sensor. Though if we’re talking pie-in-the-sky wishes, maybe the iPhone 17 could be the first smartphone with a full-frame image sensor. I won’t hold my breath on that one — the phone, and the lenses, would need to be immense to accommodate it, so it’d likely be more efficient just to let you make calls with your mirrorless camera.
Variable aperture
Speaking of the Xiaomi 14 Ultra, one of the other reasons that phone rocks so hard for photography is its variable aperture on the main camera. Its widest aperture is f/1.6 — significantly wider than the f/1.78 of the iPhone 16 Pro.That wider aperture lets in a lot of light in dim conditions and more authentically achieves out-of-focus bokeh around a subject.
But Xiaomi’s 14 Ultra aperture can also close down to f/4, and with that narrower aperture, it’s able to create starbursts around points of light. I love achieving this effect in nighttime imagery with the phone. It makes the resulting images look much more like they’ve been taken with a professional camera and lens, while the same points of light on the iPhone just look like roundish blobs. Disappointingly, Xiaomi actually removed this feature from the new 15 Ultra so whether Apple sees value in implementing this kind of technology remains to be seen.
More Photographic Styles
Though Apple has had various styles and effects integrated into the iPhone’s cameras, the iPhone 16 range took it further, with more control over the effects and more toning options. It’s enough that CNET Senior Editor Lisa Eadicicco even declared the new Photographic Styles her «favorite new feature on Apple’s latest phone.»
I think they’re great too. Or rather, they’re a great start. The different color tones, like the ones you get with the Amber and Gold styles, add some lovely warmth to scenes, and the Quiet effect adds a vintage filmic fade, but there’s still not a whole lot to choose from and the interface can be a little slow to work through. I’d love to see Apple introduce more Photographic Styles with different color toning options, or even with tones that mimic vintage film stocks from Kodak or Fujifilm.
And sure, there are plenty of third-party apps like VSCO or Snapseed that let you play around with color filters all you want. But using Apple’s styles means you can take your images with the look already applied, and then change it afterward if you don’t like it — nothing is hard-baked into your image.
I was recently impressed with Samsung’s new tool for creating custom color filters based off the look of other images. I’d love to see Apple bring that level of image customization to the iPhone.
Better ProRaw integration with Photographic Styles
I do think Apple has slightly missed an opportunity with its Photographic Styles, though, in that you can use them only when taking images in HEIF (high-efficiency image format). Unfortunately, you can’t use them when shooting in ProRaw. I love Apple’s use of ProRaw on previous iPhones, as it takes advantage of all of the iPhone’s computational photography — including things like HDR image blending — but still outputs a DNG raw file for easier editing.
The DNG file typically also offers more latitude to brighten dark areas or tone down highlights in an image, making it extremely versatile. Previously, Apple’s color presets could be used when shooting in ProRaw, and I loved it. I frequently shot street-style photos using the high contrast black-and-white mode and then edited the raw file further.
Now using that same black-and-white look means only shooting images in HEIF format, eliminating the benefits of using Apple’s ProRaw. Oddly, while the older-style «Filters» are no longer available in the camera app when taking a raw image, you can still apply those filters to raw photos in the iPhone’s gallery app through the editing menu.
LUTs for ProRes video
And while we’re on the topic of color presets and filters, Apple needs to bring those to video, too. On the iPhone 15 Pro, Apple introduced the ability to shoot video in ProRes, which results in very low-contrast, almost gray-looking footage. The idea is that video editors will take this raw footage and then apply their edits on top, often applying contrast and color presets known as LUTs (look-up tables) that gives footage a particular look — think dark and blue for horror films or warm and light tones for a romantic drama vibe.
But Apple doesn’t offer any kind of LUT for editing ProRes video on the iPhone, beyond simply ramping up the contrast, which doesn’t really do the job properly. Sure, the point of ProRes is that you would take that footage off the iPhone, put it into software like Davinci Resolve, and then properly color grade the footage so it looks sleek and professional.
But that still leaves the files on your phone, and I’d love to be able to do more with them. My gallery is littered with ungraded video files that I’ll do very little with because they need color grading externally. I’d love to share them to Instagram, or with my family over WhatsApp, after transforming those files from drab and gray to beautifully colorful.
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 LUTs that can be directly applied to ProRes video files on the iPhone. While we didn’t see this software functionality discussed as part of the company’s June WWDC keynote, that doesn’t mean it couldn’t be launched with the iPhone in September.
If Apple were able to implement all these changes — excluding, perhaps, the full-frame sensor which even I can admit is a touch ambitious — it would have an absolute beast of a camera on its hands.
Technologies
Let T-Mobile Pick Up the Tab. Get a Free iPhone 17 With a New Line
If you’ve been looking to add a new line or switch carriers, you can scoop up Apple’s latest flagship on T-Mobile’s dime.
Apple’s new iPhone 17 typically costs $830 for the 256GB configuration, or up to $1,030 for the 512GB configuration. However, T-Mobile isoffering it to customers for free if they meet certain qualifications. If you’ve been looking to trade in your old device or choose an eligible plan, now is a great time to nab this deal.
T-Mobile doesn’t mention a deadline for this deal’s end, but it’s best to act fast if you’ve been wanting the latest iPhone.
To get a free iPhone 17, you’ll need to switch to T-Mobile on an Experience Beyond or Experience More plan and open a new line. You can also choose a Better Value plan, but you must add at least three lines with that plan to get your phone. You can also add a new line on a qualifying plan to score the deal, so long as you also have an eligible device to trade in.
Buyers are still responsible for the $35 activation fee. You’ll get bill credits for 24 months that amount to your phone’s cost. Additionally, you can only get up to four devices with a new line on a qualifying plan.
Note that newer phones will net you more trade-in credits, but an iPhone 6 will net you at least $400 off. The iPhone 17 Pro is also free with a trade-in of an eligible device on an Experience Beyond plan. The iPhone 17 Pro Max is just over $4 per month right now, with the same qualifications.
We’ve also got a list of the best phone deals, if you’d like to shop around.
MOBILE DEALS OF THE WEEK
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Why this deal matters
The iPhone 17 series is the latest in Apple’s ecosystem. These smartphones are made to work with Apple Intelligence, include faster chips, offer improved camera performance and show off Apple’s trademark gorgeous design. Starting at $830, they’re not the cheapest phones around, so carrier deals like this one are the best way to save some serious cash.
Technologies
How Team USA’s Olympic Skiers and Snowboarders Got an Edge From Google AI
Google engineers hit the slopes with Team USA’s skiers and snowboarders to build a custom AI training tool.
Team USA’s skiers and snowboarders are going home with some new hardware, including a few gold medals, from the 2026 Olympics. Along with the years of hard work that go into being an Olympic athlete, this year’s crew had an extra edge in their training thanks to a custom AI tool from Google Cloud.
US Ski and Snowboard, the governing body for the US national teams, oversees the training of the best skiers and snowboarders in the country to prepare them for big events, such as national championships and the Olympics. The organization partnered with Google Cloud to build an AI tool to offer more insight into how athletes are training and performing on the slopes.
Video review is a big part of winter sports training. A coach will literally stand on the sidelines recording an athlete’s run, then review the footage with them afterward to spot errors. But this process is somewhat dated, Anouk Patty, chief of sport at US Ski and Snowboard, told me. That’s where Google came in, bringing new AI-powered data insights to the training process.
Google Cloud engineers hit the slopes with the skiers and snowboarders to understand how to build an actually useful AI model for athletic training. They used video footage as the base of the currently unnamed AI tool. Gemini did a frame-by-frame analysis of the video, which was then fed into spatial intelligence models from Google DeepMind. Those models were able to take the 2D rendering of the athlete from the video and transform it into a 3D skeleton of an athlete as they contort and twist on runs.
Final touches from Gemini help the AI tool analyze the physics in the pixels, according to Ravi Rajamani, global head of Google’s AI Blackbelt team. which worked on the project. Coaches and athletes told the engineers the specific metrics they wanted to track — speed, rotation, trajectory — and the Google engineers coded the model to make it easy to monitor them and compare between different videos. There’s also a chat interface to ask Gemini questions about performance.
«From just a video, we are actually able to recreate it in 3D, so you don’t need expensive equipment, [like] sensors, that get in the way of an athlete performing,» Rajamani said.
Coaches are undeniably the experts on the mountain, but the AI can act as a kind of gut check. The data can help confirm or deny what coaches are seeing and give them extra insight into the specifics of each athlete’s performance. It can catch things that humans would struggle to see with the naked eye or in poor video quality, like where an athlete was looking while doing a trick and the exact speed and angle of a rotation.
«It’s data that they wouldn’t otherwise have,» Patty said. The 3D skeleton is especially helpful because it makes it easier to see movement obscured by the puffy jackets and pants athletes wear, she said.
For elite athletes in skiing and snowboarding, making small adjustments can mean the difference between a gold medal and no medal at all. Technological advances in training are meant to help athletes get every available tool for improvement.
«You’re always trying to find that 1% that can make the difference for an athlete to get them on the podium or to win,» Patty said. It can also democratize coaching. «It’s a way for every coach who’s out there in a club working with young athletes to have that level of understanding of what an athlete should do that the national team athletes have.»
For Google, this purpose-built AI tool is «the tip of the iceberg,» Rajamani said. There are a lot of potential future use cases, including expanding the base model to be customized to other sports. It also lays the foundation for work in sports medicine, physical therapy, robotics and ergonomics — disciplines where understanding body positioning is important. But for now, there’s satisfaction in knowing the AI was built to actually help real athletes.
«This was not a case of tech engineers building something in the lab and handing it over,» Rajamani said. «This is a real-world problem that we are solving. For us, the motivation was building a tool that provides a true competitive advantage for our athletes.»
Technologies
Virtual Boy Review: Nintendo’s Oddest Switch Accessory Yet Is an Immersive ’90s Museum
No one needs a Virtual Boy. But I always wanted one. And now it’s living with me at last.
On my desk is a Nintendo device that looks like equipment stolen from a cyberpunk optical shop. It’s big, it’s red and black, it sits on a tripod, it has an eyepiece, and it has a Nintendo Switch 2 nestled inside. Hello, Virtual Boy, you’re back.
Nintendo has made a lot of weird consoles over the years, but the Virtual Boy was the weirdest. And the shortest lived. Released in 1995 and discontinued a year later, it lived for a blink of an eye during my final year in college. I never really had time to consider buying one.
It would have been perfect for me, a Game Boy fan who was in love with the idea of VR even back then. Nintendo has been flirting with virtual reality in various forms for decades, and the Virtual Boy was the biggest swing. But it wasn’t VR at all, really. It was a 3D game console in red and black monochrome, a 3D Game Boy in tripod form.
I’m setting the stage because right now you can order a $100 Virtual Boy recreation that’s a big, strange Switch accessory. It’s staring at me now, taking up a lot of space. It’s too big to fit in a bag. It’s a tabletop console, really, and Nintendo has created this Virtual Boy viewer as a way to play a set of free-with-subscription games on the Switch and Switch 2.
Is it worth your money? I’d call it a museum-piece collectible, not a serious piece of gaming hardware. Still, my kid stuck his head in, played 3D Wario Land, and came out declaring it was really cool. He loves old retro games. But I don’t know how often he’ll pop his head back in.
Nintendo’s first stab at 3D now feels like a museum piece
For comparison, I pulled my old Nintendo 3DS XL out of the drawer where it had been tucked away and booted it up, marveling again that Nintendo actually made a glasses-free 3D game handheld once upon a time. The 3DS is a far more capable and advanced game system, but consider the Virtual Boy an ancient attempt to get there first.
The Virtual Boy was a monochrome red-and-black LED display system, a tabletop-only device that was neither handheld nor TV-connected. The Nintendo Switch’s tabletop-style game modes feel like a bit of an evolutionary link to the Virtual Boy, so it’s poetic that the Switch pops into the new Virtual Boy to power the games and provide the display.
The plastic Virtual Boy is just an odd set of VR goggles for the Switch, but with a red filter on the lenses. Also, you can’t wear it. You keep your head stuck in it.
Awkward and easy to use
All the trappings on this recreation look like the old Virtual Boy but don’t work: You can see a simulated headphone jack, controller port, a sort of knob on top. I just unsnap the plastic case and slide the Switch in, carefully, and then snap it back over. That’s all it is.
To control it, you use the Switch controllers detached or another Switch-compatible controller. Launching the Virtual Boy app — free on the eShop, but you need a Switch Online Plus Expansion Pack account, which costs $50 a year, or $80 for a family membership — splits the Switch display into two smaller, distorted screens. In the Virtual Boy, it looks properly 3D. When I’m done playing, I pop the Switch back out.
As I said in my first hands-on, the big foam-covered eyepiece is more than wide enough for big glasses, and was fine to dip my face into. Getting a comfortable angle to stay playing for a while is another challenge. The Virtual Boy’s included tripod-like stand can adjust the angle, but not as wide as I’d like. I’m sort of hunched over while playing, which gives me a bit of pain. Leaning on the table with my controllers in hand helps.
The red-lensed front eyepiece can be removed, and a later software update will allow Virtual Boy games to be played in several color mixes beyond red and black. Also, you can unscrew an inner bracket to hold the Switch 2 and swap in an included Switch-sized bracket instead. The Switch Lite doesn’t work with the Virtual Boy, however.
The weirdness is my type of indie
All you get right now are seven of the 16 games Nintendo has promised to release for the Virtual Boy. Believe it or not, there were only 22 games ever released for this system. The 16 will include two that were never released before, which is a fun collector’s novelty.
But what’s amazing to me now is that, sinking into these oddball retro games with their pixelated NES-slash-Game Boy aesthetics in red and black, they feel weirdly timely. The janky, oddball, almost-parallel-universe Nintendo vibe feels like the indie retro aesthetic that’s been big for a while now. After all these years, is the Virtual Boy now finally awesome?
Games like UFO 50 (a compilation of new indie games made to feel like an archive of ’80s games for a console that never was) and indie consoles like Panic Playdate (still my favorite black and white mini handheld, a home for all sorts of homebrew retro games) match my feeling diving into these Virtual Boy games and figuring them out.
Wario Land is probably the best: A side-scrolling Wario game with multiple depth levels, it gives me Game Boy Mario game vibes. Golf has multiple holes and an aiming system, and it’s relaxed and basic (and hard to perfect). 3D Tetris has you dropping blocks down a well to fill in layers, with a Tron-like puzzle feel. Red Alert’s wireframe 3D shooter design is like Star Fox, but boiled all the way down to simple vector lines. Galactic Pinball has several tables, and it’s some lovely, very old-school 3D Nintendo pinball fun. Teleroboxer is Punch-Out with robots, with a style that also reminds me of the early Switch game Arms. And The Mansion of Innsmouth is a creepy 3D dungeon-crawling game (in Japanese) where you try to get to exits before time runs out… or monsters get you.
The remaining games coming this year include Mario Tennis, another Tetris game, a wireframe 3D racer, a 3D reinvention of the original Mario Bros. game called Mario Clash and a 3D Space Invaders. By the end of Nintendo’s release schedule, a good chunk of Virtual Boy’s catalog will be there.
A novelty that’s niche as hell
Worth it? Again, if you love weird and retro, and are intrigued by lost Nintendo 3D games, then yes. But if you’re looking for cutting-edge, then no.
Keep in mind: You can buy a cheaper $25 cardboard set of goggles for the Switch that lets you play the Virtual Boy games, too (or use the old Labo VR goggles Nintendo made in 2019, if you have them). That’s a more sensible path. There are even unofficial emulators for Virtual Boy games on the Meta Quest and Apple Vision Pro. But who said the Virtual Boy was sensible?
A Nintendo game system that’s a big set of red goggles on a tripod is inherently absurd. And I welcome its weird footprint in my home, because that’s exactly who I am. But it’s also a testament to Nintendo’s perpetual interest in the bleeding edge of gaming. VR, glasses-free 3D, AR, modular consoles… Nintendo’s poking around the edges.
Is the Virtual Boy a sign that Nintendo could make its own VR or AR game system again someday soon, or as an extension of the Switch 2? Who knows? Shigeru Miyamoto, Nintendo’s legendary video game designer, sounded intrigued and elusive about it when I asked him last year. But there’s never any real way to guess where Nintendo’s heading. The Virtual Boy is a museum-piece reminder of that.
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