THE iPHONE 12 PRO MAX IS STILL EXCELLENT FOR STREET PHOTOGRAPHY
The iPhone 12 Pro Max as a Tool for Deliberate RAW Photography
The Apple iPhone 12 Pro Max, even several years after its initial release, remains a highly capable device for capturing compelling photographs and videos, suitable for users across a wide spectrum of skill levels. Its enduring image-capturing prowess provides a strong foundation for exploring more advanced photographic techniques. When paired with a dedicated application like Halide, the potential of this smartphone camera system can be further unlocked, particularly for those interested in capturing images in the RAW format. Halide distinguishes itself as a professional-grade camera application designed for both novice and experienced photographers, emphasizing a more intentional and thoughtful approach to image creation rather than relying solely on quick, automated snapshots. Considering the capabilities of this combination, it becomes pertinent to examine the reasons why a photographer might choose this setup over a traditional, dedicated camera system. Furthermore, the discussion extends to the intriguing notion that sometimes, a less analytical and more instinctive approach to photography, focusing on capturing the immediate visual experience, can yield surprisingly rewarding results. This report aims to delve into the technical aspects, comparative merits, and psychological considerations surrounding the use of an older iPhone 12 Pro Max with the Halide application for capturing RAW images.
The iPhone 12 Pro Max incorporates a sophisticated camera system featuring three 12-megapixel lenses: wide, ultra-wide, and telephoto. Notably, the main wide camera boasts a sensor that is significantly larger—47% larger, in fact—than the sensor found in the standard iPhone 12 model. This increased sensor size translates to larger individual photo-sites, which directly enhances the camera's ability to perform in low-light conditions. Apple has claimed an impressive 87% improvement in light collection due to this larger sensor. To further aid in capturing sharp images, the main wide lens is equipped with a sensor-shift optical image stabilisation system. Unlike some other smartphones that stabilise the image by moving the lens elements, the iPhone 12 Pro Max moves the entire sensor assembly, providing a more effective form of stabilisation. The telephoto lens on this model offers a 65mm equivalent focal length, providing a greater reach than previous iPhone iterations and allowing for tighter compositions of distant subjects. Additionally, the inclusion of a LiDAR scanner contributes to faster and more accurate autofocus, particularly in dimly lit environments.
Beyond the hardware, Apple has implemented an advanced "smart photography pipeline" that significantly influences the final image output. Key components of this pipeline include Smart HDR and Deep Fusion, both of which leverage the considerable processing power of the A14 Bionic chip through real-time machine learning. These computational algorithms work intelligently to enhance various aspects of the image, such as selectively boosting details, accurately determining white balance even in challenging night scenes, and effectively detecting and isolating subjects within the frame. The overarching goal of this image processing is to produce images that appear natural while retaining crucial details, especially in areas like skin tones and hair. While the processing is comprehensive, it has been described as "conservative" in its approach, generally exhibiting fairly neutral colour saturation and contrast, along with a tendency towards a slightly warmer white balance. The iPhone's software can even identify and segment the sky within a photograph, applying targeted noise reduction to create smooth gradients, although this can sometimes result in an unintended blue cast even in overcast skies. The low-light performance of the iPhone 12 Pro Max is particularly noteworthy. It features a dedicated Night Mode that excels at capturing stunning images and videos in extremely low-light conditions. This Night Mode capability extends across all the phone's lenses, including the ultra-wide and front-facing cameras (though RAW capture via the native app might have limitations on these). The system can even facilitate handheld long exposures in very dark environments. Renowned photographer Ken Rockwell has lauded the iPhone 12 Pro Max for its ability to capture scenes in low light exactly as they appeared to his eye, a testament to its impressive capabilities.
To further harness the photographic potential of the iPhone 12 Pro Max, applications like Halide offer a suite of advanced features that go beyond the capabilities of the native camera app. Halide provides photographers with comprehensive manual controls over key exposure parameters. This includes the ability to precisely adjust shutter speed, ISO sensitivity, and white balance, giving users greater creative command over the look and feel of their images. The application also features an intuitive, gesture-based manual focus system, complete with helpful tools like focus peaking and a focus loupe to ensure critical sharpness. For accurate exposure assessment, Halide offers professional-grade tools such as histograms, an extended dynamic range (XDR) 14-bit RGB waveform display, and colour zebra stripes, allowing photographers to fine-tune their settings for optimal results.
In addition to manual controls, Halide excels in its RAW capture functionalities. It offers a unique "Process Zero" mode, which captures images in a minimally processed RAW format, aiming to produce film-like results directly from the camera with no artificial intelligence intervention. This mode saves the raw sensor data, providing maximum flexibility for extensive post-processing in dedicated image editing software. Halide also supports shooting in native RAW format and may offer compatibility with Apple's ProRAW format on the iPhone 12 Pro Max, depending on the specific version of the application. Furthermore, the "Smart RAW" feature utilises machine learning algorithms to optimise the exposure of RAW files, aiming to maximise detail and minimise noise. Beyond these core features, Halide provides a customisable interface with intuitive gesture controls. It includes a grid overlay with a built-in level to aid in composition. The reviewer mode allows users to examine images along with their EXIF metadata. For iPhones with multiple cameras, Halide offers a depth mode for capturing portraits of pets and other objects. The application even provides a "Technical Readout" that displays detailed information about the iPhone's camera hardware. To enhance convenience, Halide offers lock screen and home screen widgets for quick access to shooting modes. It also integrates with iPad and Apple Watch for remote shooting capabilities. Notably, Halide prioritises user privacy with a "Private by Design" approach, ensuring no tracking or collection of personal data or photographs. For those looking to improve their photographic skills, Halide even includes built-in tutorials and lessons.
Understanding the benefits of using Halide for RAW photography requires a grasp of the fundamental differences between JPEG and RAW files. A RAW file can be likened to the unprocessed data captured directly from the camera's sensor, often described as a "digital negative". In contrast, a JPEG file is a processed and compressed image format that is ready for immediate use. Shooting in RAW format on the iPhone 12 Pro Max with Halide offers several key advantages. RAW files retain a significantly higher level of image quality, capturing more detail and a wider dynamic range than their JPEG counterparts. They also contain a greater tonal range and more colour information, providing a richer foundation for post-processing. The flexibility offered during editing is extensive, allowing for significant adjustments to white balance, exposure, and colour correction without severely degrading the image quality. Editing RAW files is generally non-destructive, meaning the original data remains untouched, and changes are stored separately. This format provides a greater ability to recover details in both underexposed shadows and overexposed highlights, rescuing potentially lost information in high-contrast scenes.
However, shooting in RAW on a smartphone also presents certain drawbacks. The file sizes of RAW images are considerably larger than JPEGs, which can quickly consume storage space on the device. Unlike JPEGs, RAW files require post-processing in specialised software to achieve a final, viewable image. This necessity for editing can lead to a slower overall workflow. Furthermore, RAW files have limited compatibility and typically require specific software for viewing and editing. In some cases, shooting in RAW can potentially cause a slight slowdown in the camera's shooting speed. Apple's ProRAW format, if accessible through Halide on the iPhone 12 Pro Max, represents a unique approach. It combines the data of a standard RAW file with some of Apple's computational image processing, such as Smart HDR and Deep Fusion. This hybrid format aims to provide the editing flexibility of RAW while leveraging the benefits of Apple's advanced processing algorithms. However, ProRAW files are typically even larger than regular RAW files or JPEGs, requiring more storage space. ProRAW is natively available within the camera app on Pro-level iPhones.
When comparing the image quality achievable with the iPhone 12 Pro Max and Halide to that of dedicated cameras available around 2020 (the phone's release year), it's important to acknowledge that dedicated cameras, particularly those with larger sensors and higher-quality lenses, generally offer superior image quality, especially in challenging lighting conditions. These cameras often provide better dynamic range, enhanced low-light performance (though the iPhone 12 Pro Max is quite strong in this area), and a wider array of lens options for different creative effects. The fixed lenses of the iPhone, while versatile, cannot match the optical quality and adaptability of interchangeable lenses found on dedicated camera systems. DXOMARK's review of the iPhone 12 Pro Max highlighted its excellent photo sub-score but also noted limitations in dynamic range for stills and long-range zoom capabilities compared to some competitors.
Despite these general advantages of dedicated cameras, the iPhone 12 Pro Max paired with Halide offers a compelling alternative for many photographers due to its inherent convenience and portability—the "always with you" factor. While using RAW aims to bypass some of the native computational photography for greater control, the underlying power of the iPhone's processing can still be beneficial in various situations. The built-in image stabilisation for both stills and videos is remarkably effective. The ability to instantly share images is a significant advantage for many users. The intuitive user interface of both the iPhone and the Halide app (with its thoughtful design) contributes to a positive shooting experience. The discreet nature of a smartphone camera makes it particularly well-suited for certain types of photography, such as street photography. There are specific scenarios where choosing the iPhone 12 Pro Max with Halide over a dedicated camera might be particularly advantageous. These include travel and hiking where minimising weight and bulk is crucial. The iPhone excels at capturing spontaneous moments quickly. In situations where a less conspicuous camera is preferred, the iPhone is an ideal tool. Finally, when the need for immediate sharing of images outweighs the pursuit of the absolute highest possible image quality, the iPhone provides a seamless workflow.
The concept of "photographic intuition," also referred to as "visual intuition," describes a photographer's innate ability to observe a scene and instinctively recognise elements that work well together in terms of composition and light. This involves the capacity to compose photographs rapidly and without excessive conscious deliberation. The idea of "capturing what you see" rather than "what you thought you saw" aligns with this intuitive approach. Ken Rockwell, for instance, noted his experience with the iPhone 12 Pro Max accurately capturing scenes as they appeared to his eye. This perspective encourages photographers to move beyond rigid technical rules and instead focus on the immediate feeling and experience of the moment they are photographing. "Intuitive photography" emphasises qualities like presence, embodiment, curiosity, and a sense of playfulness in the creative process. Adopting a less analytical approach can sometimes lead to more compelling and authentic images. Overthinking the technical aspects can often stifle the natural flow of creativity in photography. Being fully present in the moment and trusting one's instincts can be more beneficial than getting bogged down in meticulous planning. The focus shifts from striving for technical perfection to capturing the essence of a particular moment. As photographer Adrian Vila aptly quoted Robert Henri, "The object isn't to make art; it's to be in that wonderful state which makes art inevitable". A smartphone like the iPhone 12 Pro Max can be particularly conducive to this intuitive style of photography. Its ease of use and portability encourage more spontaneous shooting opportunities. The philosophy that "the best camera is the one that's with you" resonates strongly in this context. The immediacy of viewing and sharing images captured on a smartphone can further foster a more instinctive and less overthought approach to photography.
The field of psychology offers valuable insights into the art of photography, revealing how our approach to image-making can profoundly affect the final outcome. Overthinking in photography can have several negative consequences. It can lead to a disconnect between the photographer's initial visual perception and what they believe they should be capturing based on external rules or expectations. This can result in a loss of spontaneity and the natural flow of the creative process. Becoming overly concerned with arbitrary rules and striving for technical perfection can overshadow the unique essence of a moment. The "perfectionist trap" can cause photographers to miss out on unexpected beauty that arises from embracing the unplanned. In contrast, adopting a more present and intuitive approach to photography offers several psychological benefits. It can lead to increased joy and spontaneity in the act of creation. A focus on the immediate experience can foster a deeper connection with the subjects being photographed. Seeing oneself represented positively in photographs can enhance self-esteem. The act of immersing oneself in the present moment to capture a photograph promotes mindfulness. For some, photography can even serve as a form of emotional release and a pathway to self-discovery. It's also worth considering how the act of taking photographs itself, regardless of the device used, can influence memory and perception. The "photo-taking impairment effect" suggests that taking photos without fully engaging with the scene can lead to the brain outsourcing the memory, resulting in less detailed retention of the experience. However, for some, the act of photographing people can be a way to connect with them and remember specific details. The brain actively interprets visual information, and our preferences and biases can influence what we choose to capture and how we remember it. The increasing adoption of smartphones by professional photographers further highlights the evolving landscape of image creation. Professionals are using smartphones more frequently for both personal and even some professional work. The reasons for this include the portability and convenience of smartphones, as well as the fact that the image quality is now often sufficient for various professional purposes. There are numerous examples of professional photographers who rely on iPhones for their creative vision.
In conclusion, utilising an older iPhone 12 Pro Max with the Halide application for RAW photography presents a compelling option for photographers seeking a balance between convenience, control, and image quality. The iPhone 12 Pro Max provides a capable hardware foundation, and Halide unlocks its potential with advanced manual controls and the ability to capture images in the flexible RAW format. While dedicated cameras may still hold an edge in certain aspects of image quality and versatility, the iPhone + Halide combination offers significant advantages in terms of portability and spontaneity, making it particularly well-suited for specific shooting scenarios. Furthermore, embracing photographic intuition and focusing on capturing the immediate visual experience, rather than overthinking technical details, can lead to more authentic and emotionally resonant images, especially when using a tool as accessible and integrated into daily life as a smartphone. The increasing acceptance of smartphone photography among professionals underscores the viability of devices like the iPhone 12 Pro Max as serious tools for creative expression.
The iPhone 12 Pro Max as a Tool for Deliberate RAW Photography
The Apple iPhone 12 Pro Max, even several years after its initial release, remains a highly capable device for capturing compelling photographs and videos, suitable for users across a wide spectrum of skill levels. Its enduring image-capturing prowess provides a strong foundation for exploring more advanced photographic techniques. When paired with a dedicated application like Halide, the potential of this smartphone camera system can be further unlocked, particularly for those interested in capturing images in the RAW format. Halide distinguishes itself as a professional-grade camera application designed for both novice and experienced photographers, emphasizing a more intentional and thoughtful approach to image creation rather than relying solely on quick, automated snapshots. Considering the capabilities of this combination, it becomes pertinent to examine the reasons why a photographer might choose this setup over a traditional, dedicated camera system. Furthermore, the discussion extends to the intriguing notion that sometimes, a less analytical and more instinctive approach to photography, focusing on capturing the immediate visual experience, can yield surprisingly rewarding results. This report aims to delve into the technical aspects, comparative merits, and psychological considerations surrounding the use of an older iPhone 12 Pro Max with the Halide application for capturing RAW images.
The iPhone 12 Pro Max incorporates a sophisticated camera system featuring three 12-megapixel lenses: wide, ultra-wide, and telephoto. Notably, the main wide camera boasts a sensor that is significantly larger—47% larger, in fact—than the sensor found in the standard iPhone 12 model. This increased sensor size translates to larger individual photo-sites, which directly enhances the camera's ability to perform in low-light conditions. Apple has claimed an impressive 87% improvement in light collection due to this larger sensor. To further aid in capturing sharp images, the main wide lens is equipped with a sensor-shift optical image stabilisation system. Unlike some other smartphones that stabilise the image by moving the lens elements, the iPhone 12 Pro Max moves the entire sensor assembly, providing a more effective form of stabilisation. The telephoto lens on this model offers a 65mm equivalent focal length, providing a greater reach than previous iPhone iterations and allowing for tighter compositions of distant subjects. Additionally, the inclusion of a LiDAR scanner contributes to faster and more accurate autofocus, particularly in dimly lit environments.
Beyond the hardware, Apple has implemented an advanced "smart photography pipeline" that significantly influences the final image output. Key components of this pipeline include Smart HDR and Deep Fusion, both of which leverage the considerable processing power of the A14 Bionic chip through real-time machine learning. These computational algorithms work intelligently to enhance various aspects of the image, such as selectively boosting details, accurately determining white balance even in challenging night scenes, and effectively detecting and isolating subjects within the frame. The overarching goal of this image processing is to produce images that appear natural while retaining crucial details, especially in areas like skin tones and hair. While the processing is comprehensive, it has been described as "conservative" in its approach, generally exhibiting fairly neutral colour saturation and contrast, along with a tendency towards a slightly warmer white balance. The iPhone's software can even identify and segment the sky within a photograph, applying targeted noise reduction to create smooth gradients, although this can sometimes result in an unintended blue cast even in overcast skies. The low-light performance of the iPhone 12 Pro Max is particularly noteworthy. It features a dedicated Night Mode that excels at capturing stunning images and videos in extremely low-light conditions. This Night Mode capability extends across all the phone's lenses, including the ultra-wide and front-facing cameras (though RAW capture via the native app might have limitations on these). The system can even facilitate handheld long exposures in very dark environments. Renowned photographer Ken Rockwell has lauded the iPhone 12 Pro Max for its ability to capture scenes in low light exactly as they appeared to his eye, a testament to its impressive capabilities.
To further harness the photographic potential of the iPhone 12 Pro Max, applications like Halide offer a suite of advanced features that go beyond the capabilities of the native camera app. Halide provides photographers with comprehensive manual controls over key exposure parameters. This includes the ability to precisely adjust shutter speed, ISO sensitivity, and white balance, giving users greater creative command over the look and feel of their images. The application also features an intuitive, gesture-based manual focus system, complete with helpful tools like focus peaking and a focus loupe to ensure critical sharpness. For accurate exposure assessment, Halide offers professional-grade tools such as histograms, an extended dynamic range (XDR) 14-bit RGB waveform display, and colour zebra stripes, allowing photographers to fine-tune their settings for optimal results.
In addition to manual controls, Halide excels in its RAW capture functionalities. It offers a unique "Process Zero" mode, which captures images in a minimally processed RAW format, aiming to produce film-like results directly from the camera with no artificial intelligence intervention. This mode saves the raw sensor data, providing maximum flexibility for extensive post-processing in dedicated image editing software. Halide also supports shooting in native RAW format and may offer compatibility with Apple's ProRAW format on the iPhone 12 Pro Max, depending on the specific version of the application. Furthermore, the "Smart RAW" feature utilises machine learning algorithms to optimise the exposure of RAW files, aiming to maximise detail and minimise noise. Beyond these core features, Halide provides a customisable interface with intuitive gesture controls. It includes a grid overlay with a built-in level to aid in composition. The reviewer mode allows users to examine images along with their EXIF metadata. For iPhones with multiple cameras, Halide offers a depth mode for capturing portraits of pets and other objects. The application even provides a "Technical Readout" that displays detailed information about the iPhone's camera hardware. To enhance convenience, Halide offers lock screen and home screen widgets for quick access to shooting modes. It also integrates with iPad and Apple Watch for remote shooting capabilities. Notably, Halide prioritises user privacy with a "Private by Design" approach, ensuring no tracking or collection of personal data or photographs. For those looking to improve their photographic skills, Halide even includes built-in tutorials and lessons.
Understanding the benefits of using Halide for RAW photography requires a grasp of the fundamental differences between JPEG and RAW files. A RAW file can be likened to the unprocessed data captured directly from the camera's sensor, often described as a "digital negative". In contrast, a JPEG file is a processed and compressed image format that is ready for immediate use. Shooting in RAW format on the iPhone 12 Pro Max with Halide offers several key advantages. RAW files retain a significantly higher level of image quality, capturing more detail and a wider dynamic range than their JPEG counterparts. They also contain a greater tonal range and more colour information, providing a richer foundation for post-processing. The flexibility offered during editing is extensive, allowing for significant adjustments to white balance, exposure, and colour correction without severely degrading the image quality. Editing RAW files is generally non-destructive, meaning the original data remains untouched, and changes are stored separately. This format provides a greater ability to recover details in both underexposed shadows and overexposed highlights, rescuing potentially lost information in high-contrast scenes.
However, shooting in RAW on a smartphone also presents certain drawbacks. The file sizes of RAW images are considerably larger than JPEGs, which can quickly consume storage space on the device. Unlike JPEGs, RAW files require post-processing in specialised software to achieve a final, viewable image. This necessity for editing can lead to a slower overall workflow. Furthermore, RAW files have limited compatibility and typically require specific software for viewing and editing. In some cases, shooting in RAW can potentially cause a slight slowdown in the camera's shooting speed. Apple's ProRAW format, if accessible through Halide on the iPhone 12 Pro Max, represents a unique approach. It combines the data of a standard RAW file with some of Apple's computational image processing, such as Smart HDR and Deep Fusion. This hybrid format aims to provide the editing flexibility of RAW while leveraging the benefits of Apple's advanced processing algorithms. However, ProRAW files are typically even larger than regular RAW files or JPEGs, requiring more storage space. ProRAW is natively available within the camera app on Pro-level iPhones.
When comparing the image quality achievable with the iPhone 12 Pro Max and Halide to that of dedicated cameras available around 2020 (the phone's release year), it's important to acknowledge that dedicated cameras, particularly those with larger sensors and higher-quality lenses, generally offer superior image quality, especially in challenging lighting conditions. These cameras often provide better dynamic range, enhanced low-light performance (though the iPhone 12 Pro Max is quite strong in this area), and a wider array of lens options for different creative effects. The fixed lenses of the iPhone, while versatile, cannot match the optical quality and adaptability of interchangeable lenses found on dedicated camera systems. DXOMARK's review of the iPhone 12 Pro Max highlighted its excellent photo sub-score but also noted limitations in dynamic range for stills and long-range zoom capabilities compared to some competitors.
Despite these general advantages of dedicated cameras, the iPhone 12 Pro Max paired with Halide offers a compelling alternative for many photographers due to its inherent convenience and portability—the "always with you" factor. While using RAW aims to bypass some of the native computational photography for greater control, the underlying power of the iPhone's processing can still be beneficial in various situations. The built-in image stabilisation for both stills and videos is remarkably effective. The ability to instantly share images is a significant advantage for many users. The intuitive user interface of both the iPhone and the Halide app (with its thoughtful design) contributes to a positive shooting experience. The discreet nature of a smartphone camera makes it particularly well-suited for certain types of photography, such as street photography. There are specific scenarios where choosing the iPhone 12 Pro Max with Halide over a dedicated camera might be particularly advantageous. These include travel and hiking where minimising weight and bulk is crucial. The iPhone excels at capturing spontaneous moments quickly. In situations where a less conspicuous camera is preferred, the iPhone is an ideal tool. Finally, when the need for immediate sharing of images outweighs the pursuit of the absolute highest possible image quality, the iPhone provides a seamless workflow.
The concept of "photographic intuition," also referred to as "visual intuition," describes a photographer's innate ability to observe a scene and instinctively recognise elements that work well together in terms of composition and light. This involves the capacity to compose photographs rapidly and without excessive conscious deliberation. The idea of "capturing what you see" rather than "what you thought you saw" aligns with this intuitive approach. Ken Rockwell, for instance, noted his experience with the iPhone 12 Pro Max accurately capturing scenes as they appeared to his eye. This perspective encourages photographers to move beyond rigid technical rules and instead focus on the immediate feeling and experience of the moment they are photographing. "Intuitive photography" emphasises qualities like presence, embodiment, curiosity, and a sense of playfulness in the creative process. Adopting a less analytical approach can sometimes lead to more compelling and authentic images. Overthinking the technical aspects can often stifle the natural flow of creativity in photography. Being fully present in the moment and trusting one's instincts can be more beneficial than getting bogged down in meticulous planning. The focus shifts from striving for technical perfection to capturing the essence of a particular moment. As photographer Adrian Vila aptly quoted Robert Henri, "The object isn't to make art; it's to be in that wonderful state which makes art inevitable". A smartphone like the iPhone 12 Pro Max can be particularly conducive to this intuitive style of photography. Its ease of use and portability encourage more spontaneous shooting opportunities. The philosophy that "the best camera is the one that's with you" resonates strongly in this context. The immediacy of viewing and sharing images captured on a smartphone can further foster a more instinctive and less overthought approach to photography.
The field of psychology offers valuable insights into the art of photography, revealing how our approach to image-making can profoundly affect the final outcome. Overthinking in photography can have several negative consequences. It can lead to a disconnect between the photographer's initial visual perception and what they believe they should be capturing based on external rules or expectations. This can result in a loss of spontaneity and the natural flow of the creative process. Becoming overly concerned with arbitrary rules and striving for technical perfection can overshadow the unique essence of a moment. The "perfectionist trap" can cause photographers to miss out on unexpected beauty that arises from embracing the unplanned. In contrast, adopting a more present and intuitive approach to photography offers several psychological benefits. It can lead to increased joy and spontaneity in the act of creation. A focus on the immediate experience can foster a deeper connection with the subjects being photographed. Seeing oneself represented positively in photographs can enhance self-esteem. The act of immersing oneself in the present moment to capture a photograph promotes mindfulness. For some, photography can even serve as a form of emotional release and a pathway to self-discovery. It's also worth considering how the act of taking photographs itself, regardless of the device used, can influence memory and perception. The "photo-taking impairment effect" suggests that taking photos without fully engaging with the scene can lead to the brain outsourcing the memory, resulting in less detailed retention of the experience. However, for some, the act of photographing people can be a way to connect with them and remember specific details. The brain actively interprets visual information, and our preferences and biases can influence what we choose to capture and how we remember it. The increasing adoption of smartphones by professional photographers further highlights the evolving landscape of image creation. Professionals are using smartphones more frequently for both personal and even some professional work. The reasons for this include the portability and convenience of smartphones, as well as the fact that the image quality is now often sufficient for various professional purposes. There are numerous examples of professional photographers who rely on iPhones for their creative vision.
In conclusion, utilising an older iPhone 12 Pro Max with the Halide application for RAW photography presents a compelling option for photographers seeking a balance between convenience, control, and image quality. The iPhone 12 Pro Max provides a capable hardware foundation, and Halide unlocks its potential with advanced manual controls and the ability to capture images in the flexible RAW format. While dedicated cameras may still hold an edge in certain aspects of image quality and versatility, the iPhone + Halide combination offers significant advantages in terms of portability and spontaneity, making it particularly well-suited for specific shooting scenarios. Furthermore, embracing photographic intuition and focusing on capturing the immediate visual experience, rather than overthinking technical details, can lead to more authentic and emotionally resonant images, especially when using a tool as accessible and integrated into daily life as a smartphone. The increasing acceptance of smartphone photography among professionals underscores the viability of devices like the iPhone 12 Pro Max as serious tools for creative expression.
THE FRENCH PETERS
PETER STREET AND THE FRENCH PETERS [THE EMBASSY OF THE REPUBLIC OF CROATIA IS LOCATED HERE]
The French Peters of Dublin: Arrival, History, and Legacy on Peter Street
The term "French Peters" refers to the Huguenot community, who were French Protestant refugees seeking asylum in Ireland. Their presence, particularly the history of their church and cemetery on Peter Street, forms a compelling narrative of migration, religious persecution, and lasting societal contributions. This report will explore the arrival of these French Protestants in Ireland, the history associated with their presence on Peter Street, and their broader legacy within Dublin and the wider Irish landscape.
The story of the French Peters in Ireland is intrinsically linked to the Huguenot exodus from France, primarily following the Revocation of the Edict of Nantes in 1685. This pivotal act by Louis XIV rescinded the earlier guarantee of religious freedom for Protestants in France, leading to widespread and severe persecution. Faced with the choice of converting to Catholicism or enduring imprisonment, torture, or even death, thousands of Huguenots chose to flee their homeland, seeking refuge in Protestant-majority countries across Europe. While the revocation in 1685 marked the most significant wave of migration, smaller numbers of Huguenots had already made their way to Ireland throughout the 17th century, often via England or in connection with events such as Cromwell's campaigns.
Ireland became a notable destination for these refugees due to a confluence of factors. The Irish government, along with prominent figures like the Duke of Ormonde, actively encouraged their settlement.
Recognising the skills and entrepreneurial spirit of the Huguenots, the authorities saw an opportunity to revitalise the Irish economy by attracting skilled Protestant artisans and merchants. Legislation such as the 1662 Act for encouraging Protestant Strangers to Inhabit Ireland offered incentives for settlement.
Furthermore, as a Protestant-ruled country, Ireland offered the Huguenots a haven where they could practice their religion without the fear of state-sponsored persecution that they had experienced in Catholic France. Consequently, significant Huguenot communities established themselves in Dublin and other key locations across Ireland, including Portarlington, Cork, Lisburn, and Waterford. Dublin, in particular, became a major centre for Huguenot life and activity.
Within Dublin, the Huguenot community established places of worship to serve their spiritual needs. Historical records indicate that reformed congregations, adhering to their Calvinist theological traditions, had meeting houses at various locations, including Peter Street in the south city. It is important to note that the Huguenot community in Dublin was not monolithic in its religious practice. Some congregations, known as Conformist, adopted the liturgy of the established Church of Ireland, while others, referred to as Non-Conformist, retained their own distinct forms of worship. The church on Peter Street belonged to the Non-Conformist tradition , as evidenced by historical records referring to the "Registers of the French Non-Conformist Churches of Lucy Lane and Peter Street, Dublin".
Associated with this Non-Conformist church on Peter Street was a burial ground that became a significant sanctuary for the deceased members of the community. This site was commonly known as the Huguenot Cemetery on Peter Street or French Peter's Cemetery. Historical accounts suggest that this cemetery was established in 1711, providing a dedicated resting place for French Protestants in Dublin and their descendants. Interments continued at this site for over a century and a half, with the last known burial taking place in 1879.
The Huguenot Cemetery on Peter Street, while serving a vital purpose for the community, was a relatively small plot of land, measuring approximately 64 feet by 110 feet. Despite its modest size, it is estimated that between 250 and 300 Huguenots were buried there, highlighting the importance of this space for the Dublin community.
Fortunately for historical research, registers of the French Non-Conformist Churches in Dublin, including those for Peter Street, have survived for certain periods. These records cover baptisms, marriages, and deaths/burials, with specific registers existing for the years 1701-1731 and 1771-1831. Notably, there is a gap in these records between 1731 and 1771. While no further burials occurred after 1879, the graveyard was never officially closed during the late 19th and early 20th centuries. In 1924, an arrangement was made between the trustees of the graveyard and the neighbouring Jacob's Biscuit factory. Under this agreement, Jacob's was permitted to use the graveyard as a recreation ground for their employees. As part of this arrangement, any existing gravestones were removed from their original positions and placed along the walls of the cemetery , resulting in the graves becoming unmarked. This arrangement also indicates Jacob's long-term interest in the property.
The eventual closure of the Huguenot Cemetery on Peter Street came about due to the expansion needs of Jacob's Biscuit factory, which directly adjoined the burial ground. The trustees of the graveyard eventually agreed to sell the land to Jacob's to facilitate this expansion. To formalise the closure of the burial ground and the transfer of ownership, the Irish government enacted "The Huguenot Cemetery Dublin (Peter Street) Act, 1966". This Act specifically provided the legal framework for the closing of the cemetery and its vesting in W. & R. Jacob & Co., Limited. A key provision of the Act mandated the careful removal and respectful re-interment of the human remains buried in the Peter Street cemetery.
In accordance with the 1966 Act, the remains of the Huguenots buried in Peter Street were exhumed and subsequently re-interred in Mount Jerome Cemetery, located in Harold's Cross, Dublin. This relocation process took place in 1967. It is estimated that the remains of approximately 250 to 300 individuals were moved from the Peter Street cemetery to their new resting place in Mount Jerome. A memorial was erected at Mount Jerome to commemorate those who were moved from the Huguenot Cemetery on Peter Street. Furthermore, a detailed list of names of those reinterred from the Reformed French Huguenot Cemetery (also known as French Peters Cemetery) to Mount Jerome Cemetery, along with their dates of death as inscribed on the memorial, is available. This list provides a valuable record of many of the individuals who were originally laid to rest on Peter Street. A selection of these names is provided below:
BARTHELMEY D'ARABIN 31 Jan. 1713
ANNE De LORTHE DANDRIEU 3 July 1713
ANNE De VASSINHAC DANDRIEU 18 Jan. 1714
Fils De PIERRE RIOUSET 13 May 1721
LA VEUVE De M. MELLE 27 May 1721
La Femme De M. PINAU 12 June 1721
LOUIS VAQUIEUX De JOUENNE 7 Oct. 1721
Fille De M. De. ST. MESMIN 8 Aug. 1721
JEANNE MOUNIER 8 April 1722
PIERRE LASSERRE 13 Feb. 1722
SIMON AUDOUIN 19 May 1722
MARIANNE De COMBE 27 July 1722
JEAN JAQUES LA BEAUME 23 Aug. 1722
ESTIENNE LAGET 31 Oct. 1722
ANNE BROCAS 22 Nov. 1722
MADELAINE LIGER 8 Dec. 1722
ISAAC DELHORTE 26 Dec. 1722
Enfant De M. BRUGUIERE 2 Jan. 1723
Fils De M. CAILLAUD 7 Jan. 1723
Enfant De M JEAN MARTIN 7 Jan. 1723
JEAN EMERY 25 Jan. 1723
Fils De M. JEAN LA COMBE 27 Jan. 1723
La Femme De M. JEAN BUEZ 10 June 1723
CHARLES De BOSLEROI 4 Dec. 1725
BARTHELEMI BALAGUIER, Ministre 27 Jan. 1725
PAUL VIROULEAU De La CAPELLE 27 Dec. 1724
Madam De La BRISSONIERE 18 June 1725
GASPARD GERMAIN 21 July 1725
DANIEL FORTAGNE FORTANIER 11 Jan. 1726
JAQUES DEZOUCHE 16 Nov. 1728
JEAN LOUIS De COMBE 27 Feb. 1729
JUDITH LE DUC 31 Oct. 1728
PIERRE COMBE 12 March 1729
JEAN TESTAS 15 Oct. 1729
JEAN BARRY 25 Feb. 1730
DANIEL MARTIN 15 March 1730
MARTHE MARIE FREBOUL 24 March 1730
JEAN FAURE 7 May 1730
JEAN JAQUES COULON 31 May 1730
FRANCOISE MORIN 31 Aug. 1730
GABRIEL FARANGE 11 Sept. 1730
JACQUES MARTIN 13 Oct. 1730
JANE PETRY 12 Oct. 1730
La Femme De M. CHARLES GANBIER 27 Oct. 1730
JOSUE DU FAY DEXOUDUN Oct. 1930
THEODORE De La CAILLETIERE 13 Nov. 1730
JACOB BARRE 15 Nov. 1730
CHARLES De LOUPRE REBOUL 2 Feb. 1731
JANNE De VALADA BARBAT 19 March 1731
JOSUE ADAM 19 April 1731
Beyond the specific history of the church and cemetery on Peter Street, the Huguenot community left an indelible mark on the fabric of Dublin and Ireland. Their arrival brought with it a wealth of skills and entrepreneurial spirit that significantly boosted the Irish economy. They were particularly renowned for their expertise in various trades and industries, including weaving of high-quality textiles such as silk, poplin, and linen. The introduction and development of Irish poplin, a distinctive blend of silk and wool, is a particularly notable contribution attributed to the Huguenots. Beyond textiles, they also excelled in watchmaking, finance, bookselling, and sugar baking.
The influence of the Huguenots extended to Dublin's very urban landscape. Several prominent architects of Huguenot descent played a crucial role in shaping the city's architectural heritage. James Gandon, whose grandfather was a Huguenot refugee, designed iconic structures such as the Custom House, the Four Courts, and the Kings Inns. Similarly, Richard Cassells, also of Huguenot origin, was responsible for the design of Leinster House and the Rotunda Hospital, both significant landmarks in Dublin.
Many Huguenot families who settled in Dublin rose to prominence in Irish society, leaving a lasting legacy through their contributions in various fields. The La Touche family became synonymous with banking in Dublin, establishing a significant financial institution. The D'Olier family were notable goldsmiths and were also instrumental in the founding of the Bank of Ireland. The Maturin family produced notable figures in literature and the clergy , and Joseph Sheridan Le Fanu remains a celebrated writer of Huguenot descent. Furthermore, the enduring presence of the Huguenots in Dublin is reflected in the city's place names, with streets such as D'Olier Street, Fumbally Lane, French Street, and Mercer Street bearing names connected to prominent Huguenot individuals and communities.
While the cemetery on Peter Street holds a specific place in the history of the Dublin Huguenots, it was not their only burial ground in the city. Another significant site was the Huguenot Cemetery on Merrion Row, established in 1693. Earlier in their settlement, before dedicated cemeteries were established, Huguenots also buried their dead in the "Cabbage Patch" near St. Patrick's Cathedral and in Newmarket in the Liberties. These various burial locations underscore the presence and integration of the Huguenot community within different parts of Dublin over time.
In conclusion, the story of the French Peters of Dublin, centred on the French Protestant Church and Cemetery on Peter Street, is a testament to the resilience and enduring spirit of the Huguenot refugees who sought asylum in Ireland. Driven from their homeland by religious persecution, they established a vibrant community in Dublin, contributing significantly to the city's economic, social, and cultural development. While the physical presence of their church and cemetery on Peter Street has evolved over time, their legacy continues to be felt through the contributions of their descendants, the architectural landmarks they helped create, and the very names of the streets that weave through the city they came to call home.
The French Peters of Dublin: Arrival, History, and Legacy on Peter Street
The term "French Peters" refers to the Huguenot community, who were French Protestant refugees seeking asylum in Ireland. Their presence, particularly the history of their church and cemetery on Peter Street, forms a compelling narrative of migration, religious persecution, and lasting societal contributions. This report will explore the arrival of these French Protestants in Ireland, the history associated with their presence on Peter Street, and their broader legacy within Dublin and the wider Irish landscape.
The story of the French Peters in Ireland is intrinsically linked to the Huguenot exodus from France, primarily following the Revocation of the Edict of Nantes in 1685. This pivotal act by Louis XIV rescinded the earlier guarantee of religious freedom for Protestants in France, leading to widespread and severe persecution. Faced with the choice of converting to Catholicism or enduring imprisonment, torture, or even death, thousands of Huguenots chose to flee their homeland, seeking refuge in Protestant-majority countries across Europe. While the revocation in 1685 marked the most significant wave of migration, smaller numbers of Huguenots had already made their way to Ireland throughout the 17th century, often via England or in connection with events such as Cromwell's campaigns.
Ireland became a notable destination for these refugees due to a confluence of factors. The Irish government, along with prominent figures like the Duke of Ormonde, actively encouraged their settlement.
Recognising the skills and entrepreneurial spirit of the Huguenots, the authorities saw an opportunity to revitalise the Irish economy by attracting skilled Protestant artisans and merchants. Legislation such as the 1662 Act for encouraging Protestant Strangers to Inhabit Ireland offered incentives for settlement.
Furthermore, as a Protestant-ruled country, Ireland offered the Huguenots a haven where they could practice their religion without the fear of state-sponsored persecution that they had experienced in Catholic France. Consequently, significant Huguenot communities established themselves in Dublin and other key locations across Ireland, including Portarlington, Cork, Lisburn, and Waterford. Dublin, in particular, became a major centre for Huguenot life and activity.
Within Dublin, the Huguenot community established places of worship to serve their spiritual needs. Historical records indicate that reformed congregations, adhering to their Calvinist theological traditions, had meeting houses at various locations, including Peter Street in the south city. It is important to note that the Huguenot community in Dublin was not monolithic in its religious practice. Some congregations, known as Conformist, adopted the liturgy of the established Church of Ireland, while others, referred to as Non-Conformist, retained their own distinct forms of worship. The church on Peter Street belonged to the Non-Conformist tradition , as evidenced by historical records referring to the "Registers of the French Non-Conformist Churches of Lucy Lane and Peter Street, Dublin".
Associated with this Non-Conformist church on Peter Street was a burial ground that became a significant sanctuary for the deceased members of the community. This site was commonly known as the Huguenot Cemetery on Peter Street or French Peter's Cemetery. Historical accounts suggest that this cemetery was established in 1711, providing a dedicated resting place for French Protestants in Dublin and their descendants. Interments continued at this site for over a century and a half, with the last known burial taking place in 1879.
The Huguenot Cemetery on Peter Street, while serving a vital purpose for the community, was a relatively small plot of land, measuring approximately 64 feet by 110 feet. Despite its modest size, it is estimated that between 250 and 300 Huguenots were buried there, highlighting the importance of this space for the Dublin community.
Fortunately for historical research, registers of the French Non-Conformist Churches in Dublin, including those for Peter Street, have survived for certain periods. These records cover baptisms, marriages, and deaths/burials, with specific registers existing for the years 1701-1731 and 1771-1831. Notably, there is a gap in these records between 1731 and 1771. While no further burials occurred after 1879, the graveyard was never officially closed during the late 19th and early 20th centuries. In 1924, an arrangement was made between the trustees of the graveyard and the neighbouring Jacob's Biscuit factory. Under this agreement, Jacob's was permitted to use the graveyard as a recreation ground for their employees. As part of this arrangement, any existing gravestones were removed from their original positions and placed along the walls of the cemetery , resulting in the graves becoming unmarked. This arrangement also indicates Jacob's long-term interest in the property.
The eventual closure of the Huguenot Cemetery on Peter Street came about due to the expansion needs of Jacob's Biscuit factory, which directly adjoined the burial ground. The trustees of the graveyard eventually agreed to sell the land to Jacob's to facilitate this expansion. To formalise the closure of the burial ground and the transfer of ownership, the Irish government enacted "The Huguenot Cemetery Dublin (Peter Street) Act, 1966". This Act specifically provided the legal framework for the closing of the cemetery and its vesting in W. & R. Jacob & Co., Limited. A key provision of the Act mandated the careful removal and respectful re-interment of the human remains buried in the Peter Street cemetery.
In accordance with the 1966 Act, the remains of the Huguenots buried in Peter Street were exhumed and subsequently re-interred in Mount Jerome Cemetery, located in Harold's Cross, Dublin. This relocation process took place in 1967. It is estimated that the remains of approximately 250 to 300 individuals were moved from the Peter Street cemetery to their new resting place in Mount Jerome. A memorial was erected at Mount Jerome to commemorate those who were moved from the Huguenot Cemetery on Peter Street. Furthermore, a detailed list of names of those reinterred from the Reformed French Huguenot Cemetery (also known as French Peters Cemetery) to Mount Jerome Cemetery, along with their dates of death as inscribed on the memorial, is available. This list provides a valuable record of many of the individuals who were originally laid to rest on Peter Street. A selection of these names is provided below:
BARTHELMEY D'ARABIN 31 Jan. 1713
ANNE De LORTHE DANDRIEU 3 July 1713
ANNE De VASSINHAC DANDRIEU 18 Jan. 1714
Fils De PIERRE RIOUSET 13 May 1721
LA VEUVE De M. MELLE 27 May 1721
La Femme De M. PINAU 12 June 1721
LOUIS VAQUIEUX De JOUENNE 7 Oct. 1721
Fille De M. De. ST. MESMIN 8 Aug. 1721
JEANNE MOUNIER 8 April 1722
PIERRE LASSERRE 13 Feb. 1722
SIMON AUDOUIN 19 May 1722
MARIANNE De COMBE 27 July 1722
JEAN JAQUES LA BEAUME 23 Aug. 1722
ESTIENNE LAGET 31 Oct. 1722
ANNE BROCAS 22 Nov. 1722
MADELAINE LIGER 8 Dec. 1722
ISAAC DELHORTE 26 Dec. 1722
Enfant De M. BRUGUIERE 2 Jan. 1723
Fils De M. CAILLAUD 7 Jan. 1723
Enfant De M JEAN MARTIN 7 Jan. 1723
JEAN EMERY 25 Jan. 1723
Fils De M. JEAN LA COMBE 27 Jan. 1723
La Femme De M. JEAN BUEZ 10 June 1723
CHARLES De BOSLEROI 4 Dec. 1725
BARTHELEMI BALAGUIER, Ministre 27 Jan. 1725
PAUL VIROULEAU De La CAPELLE 27 Dec. 1724
Madam De La BRISSONIERE 18 June 1725
GASPARD GERMAIN 21 July 1725
DANIEL FORTAGNE FORTANIER 11 Jan. 1726
JAQUES DEZOUCHE 16 Nov. 1728
JEAN LOUIS De COMBE 27 Feb. 1729
JUDITH LE DUC 31 Oct. 1728
PIERRE COMBE 12 March 1729
JEAN TESTAS 15 Oct. 1729
JEAN BARRY 25 Feb. 1730
DANIEL MARTIN 15 March 1730
MARTHE MARIE FREBOUL 24 March 1730
JEAN FAURE 7 May 1730
JEAN JAQUES COULON 31 May 1730
FRANCOISE MORIN 31 Aug. 1730
GABRIEL FARANGE 11 Sept. 1730
JACQUES MARTIN 13 Oct. 1730
JANE PETRY 12 Oct. 1730
La Femme De M. CHARLES GANBIER 27 Oct. 1730
JOSUE DU FAY DEXOUDUN Oct. 1930
THEODORE De La CAILLETIERE 13 Nov. 1730
JACOB BARRE 15 Nov. 1730
CHARLES De LOUPRE REBOUL 2 Feb. 1731
JANNE De VALADA BARBAT 19 March 1731
JOSUE ADAM 19 April 1731
Beyond the specific history of the church and cemetery on Peter Street, the Huguenot community left an indelible mark on the fabric of Dublin and Ireland. Their arrival brought with it a wealth of skills and entrepreneurial spirit that significantly boosted the Irish economy. They were particularly renowned for their expertise in various trades and industries, including weaving of high-quality textiles such as silk, poplin, and linen. The introduction and development of Irish poplin, a distinctive blend of silk and wool, is a particularly notable contribution attributed to the Huguenots. Beyond textiles, they also excelled in watchmaking, finance, bookselling, and sugar baking.
The influence of the Huguenots extended to Dublin's very urban landscape. Several prominent architects of Huguenot descent played a crucial role in shaping the city's architectural heritage. James Gandon, whose grandfather was a Huguenot refugee, designed iconic structures such as the Custom House, the Four Courts, and the Kings Inns. Similarly, Richard Cassells, also of Huguenot origin, was responsible for the design of Leinster House and the Rotunda Hospital, both significant landmarks in Dublin.
Many Huguenot families who settled in Dublin rose to prominence in Irish society, leaving a lasting legacy through their contributions in various fields. The La Touche family became synonymous with banking in Dublin, establishing a significant financial institution. The D'Olier family were notable goldsmiths and were also instrumental in the founding of the Bank of Ireland. The Maturin family produced notable figures in literature and the clergy , and Joseph Sheridan Le Fanu remains a celebrated writer of Huguenot descent. Furthermore, the enduring presence of the Huguenots in Dublin is reflected in the city's place names, with streets such as D'Olier Street, Fumbally Lane, French Street, and Mercer Street bearing names connected to prominent Huguenot individuals and communities.
While the cemetery on Peter Street holds a specific place in the history of the Dublin Huguenots, it was not their only burial ground in the city. Another significant site was the Huguenot Cemetery on Merrion Row, established in 1693. Earlier in their settlement, before dedicated cemeteries were established, Huguenots also buried their dead in the "Cabbage Patch" near St. Patrick's Cathedral and in Newmarket in the Liberties. These various burial locations underscore the presence and integration of the Huguenot community within different parts of Dublin over time.
In conclusion, the story of the French Peters of Dublin, centred on the French Protestant Church and Cemetery on Peter Street, is a testament to the resilience and enduring spirit of the Huguenot refugees who sought asylum in Ireland. Driven from their homeland by religious persecution, they established a vibrant community in Dublin, contributing significantly to the city's economic, social, and cultural development. While the physical presence of their church and cemetery on Peter Street has evolved over time, their legacy continues to be felt through the contributions of their descendants, the architectural landmarks they helped create, and the very names of the streets that weave through the city they came to call home.
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