It’s complicated. But taking pictures shouldn’t be.

Chase Jarvis kicked things off with the “Best Camera is the One That’s With You.” Complete with an app for the iPhone and it’s own built in eco-system. The sentiment is true—without a doubt. A camera is better than no camera. Even when the Best Camera app was announced I think the iPhone 4 was still an undisclosed, rumor of a myth. And—to fall back into the well of gear geekery—the iPhone 4 really does have an extraordinary camera in it.

An entirely random image. The only reason it applies is that it was, indeed, taken with an iPhone.

David Duchemin consistently has some good rants about the gear thing, like this one on spending the money on tickets instead.

One of my all time favorite photographers Norman Mausfopf has been shooting with the same Leica kit for years. With the same film. Processed in the same developer. It hasn’t slowed Mauskopf from making absolutely magical photographs.

Other options followed for iOS—Hipstamic, Camera+ and finally Instagram—which really took off and started spawning it’s own set of services for sharing. But still, for people not keeping up it’s easy to write the whole thing off as “it’s just a phone camera.”

This is a good thing.

People change when you reach into a camera bag, pull out a some giant, begripped digital SLR with a gaping, hooded lens on the front of it. They get worried. They start second guessing what your motives are. You’ve become part of the situation instead of documenting it. Plus, you have to get it off that card, into a computer or iPad. Some people get obsessed with editing, culling, doing hours of post-processing.

Your iPhone on the other hand isn’t hanging off your shoulder along with another twenty pounds of additional lenses, a flash and extra stuff. You see an image or a situation and quietly retrieve your phone. Capture your image and move along. Plus, you can share it almost instantly—right from the “camera.”

The longer the majority of the population views the iPhone as a “not serious” piece of camera equipment the better. You can catch people a bit closer to being themselves. And it can be used to create compelling, challenging, work. Want more proof? Look no further than the results of the Basetrack project featured at Foreign Policy.

This isn’t to say I’ll be selling my dSLR any time soon. I do enjoy shooting with it—but it’s just way past time to stop thinking of the iPhone as a toy.

Anyhow, you’re probably wondering—what the hell this has to do with the August wallpaper. Fair enough. I grabbed this shot earlier this year on the way back from the Lincoln Doubleheader. I’m not entirely sure why I like it.

Is it the weird combination of the industrial and agrarian? The sky? Maybe I’m just happy I snagged it at 70 miles per hour with an iPhone.

Anyhow, I hate talking about work. You guys should do that instead in the comments below. Or not.

Nonetheless, I hope you enjoy it.

Grab a MacBook nice size above, or jump to a cinema display or old school 4:3 flavor if that’s your thing.

Then showing you data to back it up. You could also just call it awesome.

I’d apparently been developing horrible habits the last few years, and while I can’t say definitively that I’ve exorcised those demons, at least I’m aware of them now. And, as NBC likes to say, “The More You Know. . . .”

The car is pretty brutal to front tires. Full-disclaimer, none of these were fresh when the weekend started. But still. Also, to be fair, the really bad ones started cording on the inside. I’d normally not let them get that bad before calling it, but I was right. The car definitely picked up a bit of push in towards the end of those sessions.

These were shot with the iPhone. In craptacular light. The only work they got was a quick converting to black and white and  contrast bump in Aperture.

I snapped these two shots with the iPhone on the ferry and had posted them to my Flickr account, Twitter and Facebook before we set foot on St. Thomas. (There’s still some issues with the WordPress iPhone app that need to be worked out a bit.)

I’ve gotten some questions about how I’ve processed some of these. So here’s the scoop:

A few weeks ago, I apparently drank some of the Chase Jarvis Kool-Aid. The flavor being the Best Camera concept. The Reader’s Digest version of that concept is that the best camera is the one that you have with you. For Jarvis that came to be the iPhone’s built-in camera.

If I don’t have my Canon 5DMk2 with me, I have the G9. In fact, around town it’s almost always in my bag. It’s easily the best point and shoot I’ve had. Don’t get me wrong, it still has some weak points. Chiefly the shutter lag. If it had a shutter response that was more akin to the 5D or any of my old film cameras I’d have no complaints with the camera.

Still, there’s a few times, when the G9 is just out of reach or it’s still in the bag in the office. But, I’m never without my iPhone. And the camera is decent if not spectacular. I think it has the same issues that most small sensor digital cameras have and that’s chiefly contrast. But for a 2MB camera phone it works. (Especially if you remember that “shutter” doesn’t release until you remove your finger from the “button.”) Being part of my “always with me” iPhone certainly has it qualify as the Best Camera on more than one occasion.

This is where software enters the picture. Like I said, the iPhone camera has it’s issues and can use a little help. I think software like Best Camera and Adobe’s Photoshop.com is much like the Lomography folks shooting with Lomos, Dianas and  Holgas. For the record: There’s a taped up Holga gathering dusk in the equipment locker behind me.

Where was I? Right. The same way those analog equivalents embraced the inexpensively, plastic-lensed cameras and the random color shifts, light leaks and whatever else happened through processing, I see the tweaking of the soft, flat images off the iPhone as a related idea. And there’s a certain irony to using all this technology to render images that remind me of family pictures taken with a 110mm camera.

The difference being that it’s much quicker to get these images out—to share them. Before, with film, you had to make an effort. You had to really work to get an image out. Film or slides needed to be processed, then printed—or scanned. Then you could get to sharing them. The process itself encouraged editing. Required it.

With digital? It’s on the photographer to really think about the editing process. Instead of simply uploading the contents of a card.

I have to say that aside from that glitch, the iPhone was nothing short of fantastic when I had a signal or a good WiFi access.

Spent a good chunk of Friday, drinking coffee and doing a course edit on the shots from the trip. I’ve got a lot of work to do on getting this site together, but I’m thinking now it’s  matter of getting work uploaded and using it on a regular basis. More to come.