Cell Phone Camera - Photography Field Trips
Cell Phone Camera Basics


  Cell phone cameras cannot hope to compete with dSLR cameras
  with interchangeable lenses, zoom, and aperture control, yet
  cell phone cameras are being used to create outstanding
  images by the likes of National Geographic photographers.
  This course concentrates on how to deal with the limitations
  and take advantage of the strengths to help you be a better
  cell phone photographer.


  Whether or not you take pictures for pleasure or for pay,
  you should always strive to do your best -- and show your
  best. Great photography is not necessarily about equipment.
  No matter what camera you use, your images can stand above
  all the rest; there's just something about your photos that
  compels your viewer to linger just a little bit longer when
  examining them. 

  Cell phone cameras have a fixed focal length (wide angle)
  and a fixed aperture (f/1.8) with no moving parts. These 
  limit the ability to control depth of focus, which is not
  particularly good for portraiture.

  On the other hand, cell phone camera's strengths are:
    o  Low Light Photography
    o  Landscape Photography
    o  Close-up Photography
    o  Electronic processing such as HDR
    o  Uploading images to a remote computer
    o  Panoramic Photography
    o  Video
    o  Easy to carry
    o  Always have it with you

Samsung Galaxy S6 (Android)

How to Shoot on iPhone7

iPhone User Guide & support

Tips Mastering Your Camera Phone

iPhone/iPad Photography

Tips for Mastering iPhone Photography

iPhoneography 101: Essential iPhone Camera Apps

Basic Photography: A Set of Exercises

Book Recommendations

John Berger
  About Looking
  Pantheon (1980)
  ISBN: 0679736557

  As a novelist, art critic, and cultural historian, John
  Berger is a writer of dazzling eloquence and arresting
  insight whose work amounts to a subtle, powerful critique of
  the canons of our civilization. In About Looking he explores
  our role as observers to reveal new layers of meaning in
  what we see. How do the animals we look at in zoos remind us
  of a relationship between man and beast all but lost in the
  twentieth century? What is it about looking at war
  photographs that doubles their already potent violence? How
  do the nudes of Rodin betray the threats to his authority
  and potency posed by clay and flesh? And how does solitude
  inform the art of Giacometti? In asking these and other
  questions, Berger quietly -- but fundamentally -- alters the
  vision of anyone who reads his work.

Leslie Stroebel, Hollis Todd, Richard Zakia
  Visual Concepts for Photographers
  Focal Press Limited (1980)
  ISBN: 0240510259