Smartphone Photography – Welcome to the Dark Side

Introduction

You might have caught on to the fact that I’m a little bit the photography enthusiast. I even have a “few” different cameras, most of which are manual film cameras, with a few digital ones thrown into the mix. Over 40 years of learning have gone into getting the results you, Dear Reader, might just have seen on this blog.

Democratisation of photography

How many times have I heard people say, “Oh, I just use my phone,” or worse, “Oh, I could just do that with the camera on my phone?” These statements can really get on my wick! Don’t they just toss aside all the work I’ve put into photography with “real cameras?”

But after a lovely cup of tea and a slice of cake, my nerves have settled, and I’ve had time to reflect on the brashness of my emotions, and come back down to earth. Yes, some people do use the camera on their phone, and maybe, just maybe, unlike the microwave in the tea-making process, it might have a role in photography. Ooooooh, haven’t I just gotten controversial!

A little historical context

Just a quick interlude to remind myself of the democratisisation of photography that came with the Box Brownie in the 1920 and the purists were up in arms! Then the shock and horror of those same purists when colour photography came out with those dastardly Kodak Instamatics, and making photography even more egalitarian. Maybe the phone is just the extension of this and I should remove my own head from my arse and just chill!

The best camera?

“The best camera is the one that’s with you.” — Chase Jarvis.

While this statement might be true in absolute terms, it pains me to admit that for most of the hoi polloi, that camera might just be the one on our ever-intrusive phone. Does that mean I’d choose my phone over a film camera? Hell no! But it does remind me that photography is about capturing the decisive moment in time. I’ve often talked about balance in the photographic process, where you might have to sacrifice grain or digital noise (grains rather disgraced cousin from an inbred family, where somebody knew somebody in the family), to get more light to expose a shot. Or where I might have to sacrifice a certain amount of bokeh, in order to use a longer lens to “bring me nearer to my subject… The eternal give and take, if you will.

I think we might just have to have a little reality check here. Will a mobile phone, or even a very smart phone with a degree in smartness from the dashing and debonair university of Smartness upon Thames, ever be as good as a film camera, or a modern DSLR, even my beloved X100F? No. Sorry if I have just pissed on your bonfire. It will not. However, does that mean that it is completely useless? Far from it.

You still have to “think!”

As an avid reader of this wonderful and thoroughly informative blog, it will not have escaped your attention that I have written a couple of articles about the fundamentals of photography.  Going from the very basics of the exposure triangle, through various rules of composition that come to us from the world of traditional art, and that have been transferred to photography.  You will have found out and learnt about various lenses available for various cameras, and I have even touched upon the differences between medium format and 35mm film photography.  I talked about the advice given for digital as well as film photography.  I’ll let you into a secret, “It’s just as valid for smartphone photography!

Yes, I’ve said it.  If you put in as much effort into getting the shot on a smartphone as you do with your “real” camera, then You will get good results.  Can you have control over every aspect of the shot?  No.  But, and it’s a big but, “so you other brothers can’t deny,” there is a lot of technology in that little device that really helps you out.

Mindful always

What I’m trying to get at is that when you mindfully take photographs, even with your phone, it is always better than just snapping away like a small dog that knows it’s small.  Just a tiny bit of effort towards composition will go a long way.  Think about framing, and where the objects are in your image.  Think about where the light is coming from.  Try and get the best image that you can.  So it’s not a Leica?  You still have your kidneys and haven’t had to sell one yet.  It might be a less formal way of taking a photograph, but I would really like you to respect yourself and put in the effort to take your phone photography beyond the bare minimum.

Conclusion

It would appear that smartphone despite my frist misgivings is here to stay. It is a logical progression of the democratisation of this art. I have been asked to contribute to the website Monochromia, and one of my future colleagues reminded me that one of their contributors uses only his Iphone, and has received all kinds of accolades and has been the subject of numerous Expositions. I have seen his work and it is clear that he is a most mindful photographer, and the only thing that separates us are the tools we use to capture the image. I must not be such a photgraphy snob and so dismissive.

What’s next

I might just have to go further into this subject and talk about editing images on your phone and giving you ways of sharing your images if you so wish.  Maybe even some tips to help you get the results you want.  I will talk about the features of the phone camera, how the AI within can help you not just in photography, but also in video production.  Stick around to find out more!

Why the Pentax ME Super Is the Perfect First Film Camera (Even in 2026)

The Pentax ME Super is one of the finest 35mm SLRs ever made. Small, quiet, and genuinely capable; it’s still available on the used market for a fraction of what most beginners spend on their first camera. If you’re getting into film photography, it belongs on your shortlist.

What It’s Actually Like to Shoot

Mine came from Robert with two lenses already attached. I trusted him, put some film in, and tried it out. Some of the photos worked and some didn’t — but that was about getting used to the camera, not the camera failing. The more I used it, the more it became second nature. It has the same feel as my X100F, which is a high compliment: a camera that stops being something you operate and becomes something you just use.

I’ve shot with it on the streets of Nantes and taken it into the mountains. In the mountains especially, I was impressed — I could just put the film in and take photos. No fussing, no second-guessing the settings. A 24mm from my cousin in the States, a 28mm and 50mm that came with the camera from Robert. Between those three focal lengths, it covers everything: architecture, people, light, the kind of landscape you find when you’re walking a city and the streets go quiet.

The shutter isn’t noisy. It’s not silent either — this is a 1980 SLR, not a rangefinder — but it doesn’t announce itself. The Nikon FE is louder; that’s the sound of different machinery. The ME Super just gets on with it.

The Films Worth Putting Through It

Most of what goes through mine is HP5+ or Fomapan, and the ME Super handles both well.

HP5 is the obvious choice for a camera like this — fast enough to keep pace with aperture priority in unpredictable light, forgiving of the exposure errors you’ll make while learning to trust the meter, and consistent enough that you stop thinking about it. That’s a compliment. The best film stock for a camera you’re still getting to know is one that gets out of the way. And with a top shutter speed of 1/2000th, you can shoot HP5 at box speed and still open the lens right up in decent light — something a lot of cameras at this price point can’t offer.

Fomapan earns its place differently. It’s cheap enough that you stop treating frames like they matter, which turns out to produce better shooting habits than expensive film does. Fomapan 400 in particular has a quality to it — grainier than Ilford, lower in contrast, a little rougher around the edges — that suits a camera from 1980. They feel like they belong together. Fomapan 100 wants better light, but when it gets it, the results are clean and sharp in a way that doesn’t announce itself.

The two together cover most situations without requiring much thought about which to reach for.

ME Super vs. the Standard ME

The two cameras are nearly identical. Same compact body, same K-mount, same aperture-priority automation, same viewfinder. If you handed both to someone who didn’t know what they were holding, they’d be hard pressed to tell them apart.

The difference is that the ME locks you into aperture priority entirely. The Super adds manual mode — two small buttons that step the shutter speed up or down — but that’s not really why you’d choose it. Most of the time, you won’t touch those buttons. The meter is good enough that you don’t need to.

The reason to get the Super over the ME is for the moments when the meter gets it wrong, or when you’re shooting something unusual enough that you want to override it rather than argue with it through exposure compensation. It’s a fallback, not a feature. But it’s a useful one to have, and since the two cameras sell for similar prices, there’s no real reason to choose the more limited version.

If you know for certain that you want a point-and-shoot experience and nothing else, the ME does that. For everyone else, the Super is the sensible default.

Buying Used: What to Check

These cameras have been around for over 40 years and most copies you’ll find have lived some kind of life. The things worth checking are specific.

Battery corrosion is real. My cousin sent me his old Pentax K1000 from the States — same era, same dependency on small cells — and the battery compartment corrosion meant it went straight into a drawer waiting for repair. I kept the 24mm lens. The ME Super takes two LR44 cells in the base; check the contacts before you commit. Light oxidation can be cleaned. Green crust is a different problem.

Mirror foam is the other common issue — the light-sealing foam around the mirror box breaks down over time into a sticky residue. Open the back and look. If you see black gunk around the mirror frame, budget for a re-foam job. DIY kits exist; a repair shop will charge €20–40. It’s not a reason to walk away, but it’s worth knowing about going in.

Check the shutter at all speeds in manual mode, and look at the door seals along the back for crumbled foam — that’s light leaks on your first roll.

A working body in decent condition currently sells for around €70–130, with the sweet spot around €80–100. With a 50mm lens: €85–130. Serviced or near-mint examples from Japan go higher — €150 and above. Parts-only bodies start around €15. Anything listed as “untested” is a gamble worth skipping unless the price reflects the risk.

A Note on Batteries

One thing worth knowing before your first outing: the ME Super is almost entirely battery-dependent. Without working LR44 cells, you have exactly one shutter speed — a mechanical 1/125 failsafe. In good light with the right aperture, that can save a situation. In anything trickier, you’re stuck.

Carry a spare pair. They’re cheap, they last a long time under normal use, but running out mid-shoot on a cloudy afternoon in a city you’ve walked an hour to reach is frustrating in a way that’s easily avoided.

Technical Specifications

  • Shutter speed: 4 seconds to 1/2000th, plus Bulb
  • ISO range: 12–1600
  • Exposure control: Aperture priority (with manual override)
  • Viewfinder: 0.9x magnification, 95% coverage
  • Other: self-timer, cable release socket, exposure compensation (±2 stops), K-mount lens compatibility
Post Scriptum

If the Pentax ME Super has caught your attention, I’d recommend checking out my other posts on classic film cameras like the Olympus Pen EE S (Aug 9, 2023) or my reflections on the lasting appeal of film photography in In Defense of Film (Aug 23, 2023). For a more in-depth look at the Pentax in action, mark your calendars for Capturing the Essence of Nantes: A Street Photography Journey with the Pentax ME Super and Kentmere 100 Film (coming Nov 17, 2023). And for those curious about the Fujifilm X100F, you can preview how it compares in Seeing the World Through 35mm: Street Photography with the Fujifilm X100F (Jun 21, 2023). A more detailed comparison between these two cameras is also coming this November!