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The iPhone 17 Needs Amazing Cameras. Here’s What I Think Apple Should Do

Commentary: Apple’s rivals are catching up when it comes to camera skills. Here’s how the iPhone 17 can pull ahead.

The iPhone 16 Pro already packs one of the best camera setups found on any phone, but the iPhone 17 needs to take things even further when it launches in just a few weeks. Sure, Apple’s phones are capable of taking stunning photos, thanks to its awesome software, ProRaw format and its wealth of video skills, but Apple’s rivals have been doing big things, too. The Galaxy S25 Ultra, the Pixel 9 Pro and the Xiaomi 14 Ultra all pack amazing camera setups that have given the iPhone 16 Pro a run for its money and made it clear that Apple isn’t the only company innovating in the imaging arena.

Read more: Camera Champions Face Off: iPhone 16 Pro vs. Galaxy S25 Ultra

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-around 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 concerning, 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 images at 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. 

Don’t lean on AI too much

AI has become a bigger part of the camera experience on many Android phones, from the Honor 400 Pro’s tool that brought my dad back to life to the Pixel 9 Pro’s wild generative AI functions. But iPhones have always emphasized the importance of real image quality, producing sharp, detailed images that remain faithful to the scene you actually saw when you pushed the shutter button. 

Apple’s dalliances in AI so far haven’t exactly been groundbreaking and I worry that the company may want to be seen as making a bigger push for deeper, more ‘innovative’ uses for AI. And sure, maybe some of those could be useful in other parts of the phone, but the iPhone 17 cameras first and foremost still need to be able to deliver truly superb-looking images, not simply use AI to compensate for any hardware shortcomings.

Variable aperture

One of the other reasons the Xiaomi 14 Ultra 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 former CNET Senior Editor Lisa Eadicicco even declared the 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 is 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

OpenAI Says It’s Working With Actors to Crack Down on Celebrity Deepfakes in Sora

Bryan Cranston alerted SAG-AFTRA, the actors union, when he saw AI-generated videos of himself made with the AI video app.

OpenAI said Monday it would do more to stop users of its AI video generation app Sora from creating clips with the likenesses of actors and other celebrities after actor Bryan Cranston and the union representing film and TV actors raised concerns that deepfake videos were being made without the performers’ consent.

Actor Bryan Cranston, the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) and several talent agencies said they struck a deal with the ChatGPT maker over the use of celebrities’ likenesses in Sora. The joint statement highlights the intense conflict between AI companies and rights holders like celebrities’ estates, movie studios and talent agencies — and how generative AI tech continues to erode reality for all of us.

Sora, a new sister app to ChatGPT, lets users create and share AI-generated videos. It launched to much fanfare three weeks ago, with AI enthusiasts searching for invite codes. But Sora is unique among AI video generators and social media apps; it lets you use other people’s recorded likenesses to place them in nearly any AI video. It has been, at best, weird and funny, and at worst, a never-ending scroll of deepfakes that are nearly indistinguishable from reality.

Cranston noticed his likeness was being used by Sora users when the app launched, and the Breaking Bad actor alerted his union. The new agreement with the actors’ union and talent agencies reiterates that celebrities will have to opt in to having their likenesses available to be placed into AI-generated video. OpenAI said in the statement that it has «strengthened the guardrails around replication of voice and likeness» and «expressed regret for these unintentional generations.»

OpenAI does have guardrails in place to prevent the creation of videos of well-known people: It rejected my prompt asking for a video of Taylor Swift on stage, for example. But these guardrails aren’t perfect, as we’ve saw last week with a growing trend of people creating videos featuring Rev. Martin Luther King Jr. They ranged from weird deepfakes of the civil rights leader rapping and wrestling in the WWE to overtly racist content.


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The flood of «disrespectful depictions,» as OpenAI called them in a statement on Friday, is part of why the company paused the ability to create videos featuring King.

Bernice A. King, his daughter, last week publicly asked people to stop sending her AI-generated videos of her father. She was echoing comedian Robin Williams’ daughter, Zelda, who called these sorts of AI videos «gross.»

OpenAI said it «believes public figures and their families should ultimately have control over how their likeness is used» and that «authorized representatives» of public figures and their estates can request that their likeness not be included in Sora. In this case, King’s estate is the entity responsible for choosing how his likeness is used. 

This isn’t the first time OpenAI has leaned on others to make those calls. Before Sora’s launch, the company reportedly told a number of Hollywood-adjacent talent agencies that they would have to opt out of having their intellectual property included in Sora. But that initial approach didn’t square with decades of copyright law — usually, companies need to license protected content before using it — and OpenAI reversed its stance a few days later. It’s one example of how AI companies and creators are clashing over copyright, including through high-profile lawsuits.

(Disclosure: Ziff Davis, CNET’s parent company, in April filed a lawsuit against OpenAI, alleging it infringed Ziff Davis copyrights in training and operating its AI systems.)  

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Technologies

Today’s NYT Connections Hints, Answers and Help for Oct. 21, #863

Here are some hints and the answers for the NYT Connections puzzle for Oct. 21, #863.

Looking for the most recent Connections answers? Click here for today’s Connections hints, as well as our daily answers and hints for The New York Times Mini Crossword, Wordle, Connections: Sports Edition and Strands puzzles.


Today’s NYT Connections puzzle has a diverse mix of topics.  Remember when you see a word like «does» that it could have multiple meanings. Read on for clues and today’s Connections answers.

The Times now has a Connections Bot, like the one for Wordle. Go there after you play to receive a numeric score and to have the program analyze your answers. Players who are registered with the Times Games section can now nerd out by following their progress, including the number of puzzles completed, win rate, number of times they nabbed a perfect score and their win streak.

Read more: Hints, Tips and Strategies to Help You Win at NYT Connections Every Time

Hints for today’s Connections groups

Here are four hints for the groupings in today’s Connections puzzle, ranked from the easiest yellow group to the tough (and sometimes bizarre) purple group.

Yellow group hint: Deal me in.

Green group hint: I can get that.

Blue group hint: Hoops.

Purple group hint: The clicker.

Answers for today’s Connections groups

Yellow group: Playing cards.

Green group: Takes on.

Blue group: N.B.A. teams.

Purple group: Things you can control with remotes.

Read more: Wordle Cheat Sheet: Here Are the Most Popular Letters Used in English Words

What are today’s Connections answers?

The yellow words in today’s Connections

The theme is playing cards. The four answers are aces, jacks, kings and queens.

The green words in today’s Connections

The theme is takes on. The four answers are addresses, does, handles and tackles.

The blue words in today’s Connections

The theme is N.B.A. teams. The four answers are Bucks, Bulls, Hornets and Spurs.

The purple words in today’s Connections

The theme is things you can control with remotes.  The four answers are drones, garage doors, televisions and Wiis.

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Technologies

Ninja Gaiden 4 Review: The Comeback Fans Have Been Waiting For

PlatinumGames and Team Ninja revive the franchise with pure adrenaline.

With 2025 coming to a close, so is the «Year of the Ninja» for video games. What kicked off in a big way with a surprise remaster of 2008’s Ninja Gaiden 2 Black and Assassin’s Creed: Shadows, now ends with the release of Ninja Gaiden 4. 

Developed in partnership with longtime series studio Team Ninja and action game specialists PlatinumGames, Ninja Gaiden 4 is the first new 3D entry in the franchise since 2012, following the retro 2D release of Ninja Gaiden: Ragebound in July. As expected from a series known for its fast-paced slashing action, Ninja Gaiden 4 delivers plenty of stylish combat — but not much beyond that.

Ninja Gaiden 4 introduces a new protagonist, Yakumo, who replaces longtime series hero Ryu Hayabusa. It’s a similar move to what publisher Tecmo Koei did with Ninja Gaiden: Ragebound. As part of the Raven clan, a rival of Ryu’s Dragon clan, Yakumo doesn’t differ that much from the series’ previous main character. Don’t worry, Ryu fans: He does show up in the game. 

Yakumo’s quest in Ninja Gaiden 4 is to defeat the Dark Dragon, an evil deity who has been the series’ primary villain. Standing in Yakumo’s way is the Divine Dragon Order, which defends the beast and controls the futuristic Tokyo setting of the game. 

Does the story make a lot of sense? Not really, except to fans who already know the ins and outs of the Ninja Gaiden lore. Does that matter? Absolutely not, because all you need to know is where to go to slice up more enemies, which Yakumo is stellar at. 

Go Ninja Go

To say Ninja Gaiden 4’s action is fast is almost an understatement, which is to be expected. The series was already focused on rapid combat that requires quick reactions, even prior to PlatinumGames’ involvement. The developer took on Ninja Gaiden 4 after revolutionizing the hack-and-slash action game genre with the Bayonetta series and games like Nier: Automata. 

If you’ve played plenty of hack-and-slash games, Ninja Gaiden 4’s combat formula will be familiar. Yakumo has weak and heavy attacks, and chaining these together creates your standard combos. The more enemies he defeats, the more money and points he gets to unlock new moves and weapon skills. Some of the new moves extend Yakumo’s combos for longer sequences of attacks and against more enemies, while others are defensive, allowing him to unleash a powerful riposte after parrying an enemy attack.

Yakumo starts off his journey with his twin blades, but he finds more weapons throughout the game. A favorite of mine is the Magashuti staff that has a long reach to attack multiple enemies as Yakumo spins it around himself. 

Where Yakumo differs greatly from Ryu is his Bloodraven form. Unleashed when attacking with the left trigger held down, it changes Yakumo’s weapon to do greater damage. The Magashuti, for example, will take the form of a giant hammer whenever Yakumo uses his Bloodraven form. Certain enemies and bosses have armor that can deflect or reduce the power of Yakumo’s attack, so you’ll need to switch to Bloodraven form to break that armor. 

All of these mechanics make for unrivaled action. Players who spend enough time practicing will engage in beautiful dances of slashing weapons. The fact is, there are times when the action feels just a bit too fast, even for my veteran gaming reflexes. Trying to maneuver to certain areas or to talk with a non-playable character sometimes had me jumping off walls while hardly touching the controller. It almost takes more work to keep Yakumo still, especially after unlocking so many of his skills. There was also an instance when I did a finishing move to an enemy, and the animation pushed me out of bounds, causing me to have to reload to my last checkpoint. 

Arguably, the biggest frustration for me was the lock-on button. It was not intuitive at all, as it had no rhyme or reason for what it was locking onto. Even when I was fighting just the boss, it still never fully locked onto it as every other action game does. 

Also, what might be a bit of a downer for some Ninja Gaiden fans, this entry in the franchise is noticeably the easiest of the bunch. Thanks to healing items and equipable accessories, I died maybe once or twice per chapter. If a certain boss kills you too many times, the game will give you free items and even an NPC to help. For those who want more of a challenge, there’s a higher difficulty option available, but players with reasonable skill should be able to coast through the game otherwise. 

A Feast for Ninja Eyes

Another mainstay of the Ninja Gaiden franchise is the beautiful visuals. As the game takes place in a futuristic Japan, the development team really leaned into the cyberpunk-like look of a city bathed in neon and glass. 

This excels in the moments when Yakumo has to traverse in the most ninja ways, such as sliding on the train rails high above the city or gliding on rushing winds that blow through the mountain pass. These are the moments where you don’t have to worry about enemies attacking or creating the fanciest combos. You can just look around and take in these beautiful graphics. 

Combine these visuals with an excellent soundtrack and solid voice acting, and you have a presentation worthy of being included in the Ninja Gaiden series. 

Despite these quality elements, Ninja Gaiden 4 is a good reboot but not revolutionary. PlatinumGames resurrected the franchise 13 years after the last main entry, but didn’t take it in any different direction that would give this mass appeal to the gaming public. It’s an exciting 7 to 8 hours to beat, but I didn’t feel like jumping right back in.

Ninja Gaiden 4 will not be up for Game of the Year, or likely even considered one of the best games in the series, but that doesn’t matter. This is a game for anyone who just wants to feel like a badass ninja carving up enemies in the blink of an eye, because sometimes that’s all you want. 

Ninja Gaiden 4 will be released on Oct. 21 for $70 on PC, PS5 and Xbox Series X|S consoles. It will be available for Xbox Game Pass on day 1. 

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