By Jason Snell

December 28, 2020 9:00 AM PT

20 Macs for 2020: #1 – iMac G3

Note: This story has not been updated since 2020.

You can divide Mac history in a bunch of different ways. But perhaps the clearest line of demarcation is the mid-1998 release of the original iMac.

The first era of the Mac, begun in 1984, was ending as Steve Jobs returned to Apple. The Apple of the mid-1990s licensed the Mac to clonemakers and even allowed them to invent key technology. Its product design lab created wild and creative prototypes that occasionally escaped, but most shipping products were so beige they were begging for reinvention.

The Mac OS itself was also foundering. It needed to be replaced, and the arrival of Windows 95 had accelerated the Mac’s rapid fade into oblivion. But Apple had failed in multiple attempts to reinvent Mac OS, and ultimately had to turn to outside companies to provide it with an answer. Imagine that sad state of affairs: Apple, a company that prided itself on an expert fusion of hardware and software engineering, was talking to Microsoft about licensing the Windows NT kernel, or to former employee Jean-Louis Gasseé about buying his upstart BeOS, or (in the most unlikely and yet dramatically obvious move) founder Steve Jobs about buying his post-Apple company. Meanwhile, it was being stalked by other tech companies, with a serious report suggesting that Sun Microsystems was close to swallowing Apple whole.

In the end, as we all know, Steve Jobs returned to Apple and brought NextStep with him. That operating system became the foundation of the Mac’s renaissance and the basis of the iPhone, as well.

But Mac OS X wouldn’t ship for another two years, and it would be a painful years-long transition away from the classic Mac OS. In the meantime Apple needed to start making money again, needed that infusion of cash that would allow Jobs to turn over the Mac product line and let Mac OS X come to fruition. Sure, what it really needed was stability, but a hit wouldn’t hurt.

And a hit is exactly what Apple got.

Throw it all away

A lot of the technical pieces that would become the iMac G3 were floating around Apple for a while. You don’t invent an entirely new computer in a matter of months—and it was only ten months between Jobs replacing Gil Amelio as Apple CEO and the announcement of the iMac. (You think Steve Jobs didn’t understand the urgency of Apple’s situation?)

What Jobs did was set Jonathan Ive and the rest of the design team loose to provide a new take on the original concept of the Macintosh as an all-in-one “Computer For the Rest Of Us.” And it’s clear from the result that both Ive’s team and the engineering group were told that there were no sacred cows. Jobs expected something completely different, and was willing to question every assumption about what made a computer a Mac to get it.

Beyond the iconic and influential design, the iMac was a technical reset for the Mac. Apple Desktop Bus, the venerable connection standard that debuted on the Apple IIGS and had been on every Mac since 1987, would not make it on the iMac. Mac Serial, which debuted on the Mac Plus in 1986 and was the standard way to connect a Mac to printers and modems for a decade, would meet the same fate. SCSI, the high-speed peripheral bus that similarly had been a Mac standard since the Plus, was also a goner.

In their place was a new connection standard that had been introduced on the PC side, but not yet embraced: the Universal Serial Bus, or USB. To be fair, while Apple killed off three ports that had defined the Mac for more than a decade, it replaced them with a standard that’s still kicking more than two decades later. (Marvel for a moment about the fact that I can take an original iMac keyboard and plug it into an M1 Mac Mini and… it’ll just work!)

Jobs also canned the floppy disk, a standard on most Macs (barring a few laptop outliers) since the very beginning. The popularity of the 100MB Zip Drive showed that 1MB floppies were really a relic of a bygone era—but for reasons of compatibility and intertia, they continued kicking around. This was a shocking break, made even more shocking by the fact that a CD-ROM drive was the only removable media on the device. It meant that there was no way for the iMac to write files to a removable device without an add-on, which was a big gamble that presumed most people would either transfer files online or via an office network. In 1998 that was quite a presumption; online transfers were slow at best and sometimes you needed to hand off files to someone who wasn’t on your local network. Eventually the USB keychain drive would solve this problem, but back in those days a lot of people bought USB floppy drives or Zip Drives to get by.

The rest of the computer was the combination of a couple of ultimately failed projects. There was Columbus, a Mac “thin client” that was meant to be attached to a network and booted via the network. And there was CHRP, a reference platform built by IBM and Apple to create a standard for PowerPC-based computers including Mac clones. Apple fused the work of these projects together into a relatively low-cost Mac that could be built around the frame of a 15-inch CRT display.

Rhymes with ‘bullseye’

The iMac was wrapped in translucent plastic. Jonathan Ive had been experimenting with it in his Apple designs for a while—the Newton-based eMate laptop was made of the stuff; the ultra-beige Power Mac G3 tower had a little green plastic tab peeking out; and the iMac’s spiritual predecessor, the molar-shaped Power Mac G3 All-in-One, had a semi-transparent molded plastic top.

In an era that was populated with beige boxes, the greenish-blue iMac—colored “Bondi blue,” a shade inspired by the waters off Sydney’s famous Bondi Beach—looked like nothing else on the planet.

At least, momentarily.

People who didn’t live through it might not believe it, but the iMac took the product-design world by storm. Over the next few years, there would be very few consumer electronic products that had not offered a special, iMac-inspired translucent plastic edition. It started with USB accessories for the iMac, as printer and floppy-disk vendors quickly placed orders for translucent colored plastic pieces to replace their opaque beige ones. But it just kept going and going. Telephones. Toys. And my personal favorite, the George Foreman iGrill.

Yes, appending “i” in front of a product name is also the responsibility of the original iMac. It was a similar fad, though Apple’s lawyers slowed the spread of this one.

There’s no step three

Today, many people don’t realize that the “i” in iMac stands for Internet. The iMac didn’t become a hit just based on its looks—it had timing on its side. In the late 90s, the Web and Internet were hitting the mainstream, and the general public was feeling pressure to get online, check their email, and surf the web.

Throughout the 90s the Mac had suffered because it was not a PC, and there was a perception that if you used a PC at work, you should probably use a PC at home, for compatibility reasons. It wasn’t entirely logical—unless you were working regularly from home, did it matter? But it was just another reason for people not to buy a Mac.

The rise of the Internet gave Apple a huge opening. Surfing the web and doing email were mostly platform-neutral tasks. Apple positioned the iMac as, essentially, an appliance for connecting to the Internet and doing… Internet things. (Many of which were yet to be imagined, but coming fast.)

Perhaps Apple’s best commercial of all time is the one in which Jeff Goldblum explains how you set up an iMac to get online:

Presenting three easy steps to the Internet. Step one: Plug in. Step two: Get connected. Step three… there’s no step three. There’s no step three!

Steve Jobs’s belief in the value of a simple, streamlined all-in-one computer, Jony Ive’s eye-catching design, and a moment in time when people wanted to explore the Internet, was all wrapped together. It was the right product at the right time. And it was a hit.

The Mac itself

The iMac wasn’t made to impress the Mac’s installed base. Hard-core Mac users criticized the lack of a floppy drive and familiar ports, but also the 233MHz PowerPC G3 processor, which was slower than other G3s. But it was $1299—it was aggressively priced for a general consumer audience. And it sold. (It would be years before the iMac would be powerful enough to appeal to the hardest-core Mac users; that’s fine, Apple sold a ton of them and expanded the Mac market accordingly.)

There were some quirks in the original model. Former Apple engineer Bruce Gee released the Stealth Serial Port, which would return a legacy port by attaching a small board to an unused portion of the iMac’s motherboard that was a vestige of when the iMac’s motherboard had still had a serial port on it. The Bondi iMac’s mysterious Mezzanine slot, a hidden slot on the back side of the motherboard, generated a few spin-off products as well.

As the iMac became a hit, Apple revised the product quickly, addressing its weaknesses while keeping it fresh. New colors continually rotated in, the G3 processor slowly got better, FireWire ports arrived for high-speed storage, and the optical drive evolved so that it could both read and write discs.

It was a good run. The original iMac survived until 2003, at which point the CRT upon which the iMac was built had become obsolete, replaced by flat-panel displays. The education market so embraced the iMac that Apple actually created a rare G4 successor, the eMac, that kicked around until 2005.

The Mac that saved Apple

At Apple’s most vulnerable moment, the iMac swooped in and saved the day. It was a hit product when Apple desperately needed a lifeline. And the success of the iMac gave Apple the momentum to finish Mac OS X and redesign the rest of the Mac product line in the iMac’s image.

The iMac also positioned Apple well for another trend in the late ’90s—digital music. The iMac swapped its CD-ROM drive for a writeable model, and Apple introduced iTunes and the ability to burn mix CDs based on your digital library. The later FireWire-based iMacs allowed for connections to early digital camcorders, leading to the creation of iMovie—and providing a high-speed data connection for peripherals, including a weird digital-music spin-off device called the iPod that also helped launch Apple’s second run of success.

And then there’s the iMac’s final legacy—the lowercase letter ‘i’. It was such a hit that Apple began sticking it in front of every product it made. Some of them survive to this day. But does the i in the iPad, iPhone, and iPod really stand for ‘Internet?’

Of course not. It stands for iMac. The product that saved Apple.

(iMac photos courtesy of Stephen Hackett.)

The 20 Macs for 2020 Series

1. iMac G3
2. PowerBook 140/170
3. Macintosh 128K
4. MacBook Air (2nd generation)
5. Titanium PowerBook G4
6. Macintosh SE/30
7. iBook
8. Power Mac G4 Cube
9. iMac G4
10. Power Computing clones
11. Macintosh Portable
12. Twentieth Anniversary Macintosh
13. Mac IIcx and IIci
14. Mac mini
15. DayStar Genesis MP
16. Blue-and-White Power Mac G3
17. PowerBook 500 & 5300
18. Xserve
19. PowerBook Duo
20. Power Mac G5

• Video series at the 512 Pixels YouTube channel, in collaboration with Stephen Hackett.

• Podcast series at Relay FM.

Thanks to Scholle McFarland for copy editing the series, and for Stephen Hackett for supplying product photography throughout. And thanks to you for reading to the end!

By Jason Snell

December 22, 2020 10:42 AM PT

iPhone 12 mini & iPhone 12 Pro Max: Enjoyable extremes

Note: This story has not been updated since 2020.

It finally happened. I picked up a regular iPhone 12 the other day and recoiled at how large it was. My month-long inculcation into the cult of the iPhone 12 mini had done its job. I had learned to love little brother.

Apple’s one-size-fits-all approach to the iPhone worked for a very long time. But eventually the company realized that the iPhone needed to be more than a product—it needed to be a product line. And over the past few years, it’s been building out that product line—leading to late 2020 and its release of four distinctly different models in three distinct size classes.

The iPhone 12 and iPhone 12 Pro share a size, if not features. But bracketing them are the two outliers, each sharing a set of features with one of the 6.1-inch phones back at home base.

Back in 1989 “Late Night with David Letterman” did a comedy bit that imagined a clichéd sitcom about a mismatched couple, “Big Tex and Little Rhody.”¹ Big Tex was a Texas cowboy played by seven-foot-six NBA center Manute Bol, while Little Rhody was from Rhode Island and played by diminutive actress Charlene Tilton.

I don’t know why that bit has stuck with me for more than 30 years, but I’ve been thinking about it this fall for some reason. The iPhone 12 Pro Max is Big Tex. The iPhone 12 Mini is Little Rhody. Can these two star-crossed kids make it work in this kooky world?

Let’s get small

The iPhone started out small. And while it grew a little bit longer with the iPhone 5, Apple was extremely conservative when it came to iPhone design. The company’s famous commitment to keeping its laptops as thin and light as possible might have made it unwilling to envision a product category where users might want a bigger, heavier object.

Samsung had no such qualms, and it (along with other Android phone makers) discovered that a lot of people considered phones with bigger screens preferable to the ones with small, iPhone-sized ones. Apple finally got the message and released the iPhone 6 and 6 Plus, and was met with a record-breaking surge in sales. Message received: the primary iPhone model has kept getting larger, while Apple has introduced several alternative models that were even larger.

But that moment of triumph for Apple, the release of the larger iPhone 6, was a little tragedy for a lot of iPhone users—the ones who didn’t feel that when it came to phones, bigger was better. Apple’s response was to keep the iPhone 5S around for a while, then upgrade its internals as the iPhone SE. Eventually, Apple moved along—and left people who didn’t really want a phone bigger than the iPhone 5S behind.

At last, the iPhone 12 mini is here to address this corner of the market. Though making a smaller phone is clearly a low priority for Apple, one advantage of turning the iPhone from a product into a product line is that there’s room to serve the edge cases. The 12 mini isn’t quite as small as the iPhone 5—it’s 23 grams heavier, 5.6 millimeters wider, and 7.7 millimeters taller. But it’s as close as Apple’s ever going to get, and it brings with it all the modern conveniences, including Face ID and a nearly bezel-less 5.4-inch diagonal OLED display that puts the old model’s 4-inch display to shame.

Thanks to the new 2020 iPhone design language, itself a throwback to the iPhone 4/5 era, holding an iPhone 12 mini in my hand sure brings back all those iPhone 5 feelings. When I started using it full-time, though, I wasn’t convinced that I’d want to use a smaller phone. Unlike the iPhone SE die-hards, I had upgraded to the iPhone 6 size class, then the iPhone X, and just accepted the trade of a larger display in exchange for a phone that felt less comfortable to hold. After years of putting up with an awkward phone grip and basking in the glow of a big screen, would a smaller phone feel like coming home? Or would I have been so changed by the last six years that the phone I had desired would end up being a disappointment?

I’ll say this: I never felt disappointed by the iPhone 12 mini. Using it never made me feel like I had compromised in order to go smaller. After a month using the iPhone 12, moving to the 12 mini was easy—it’s the same phone, just in a smaller package. The question was, as I used the phone over weeks, would I end up in a situation where I suddenly regretted having the smaller model?

I kept waiting for this to happen, fully expecting to crash into the proverbial wall and expose some way that I had adapted to using a larger phone. I knew there would be an instructive moment when I’d miss having the bigger model, giving me perspective about the dividing line between choosing an iPhone 12 mini or its larger counterpart.

With the possible exception of the moment that I realized the iPhone 12 mini had rotated in my jeans pocket so that it fit sideways, it never happened. There were never any regrets.

My only real complaint about the iPhone 12 mini is shared with the larger iPhone 12: I think Apple made a mistake in making the second rear camera on these phones an ultrawide rather than a telephoto. The vast majority of the photos I take on my phone are using the standard “wide” lens, but I find myself very rarely using the ultrawide, which can take some strange distorted photos—and I miss having the telephoto lens that’s now standard only on the iPhone Pro models.

Do I miss it enough to opt for a phone that’s larger than the 12 mini, more expensive, and with a different design aesthetic that I don’t find pleasing? No. But if these non-Pro phones can only use two lenses, I still feel like Apple omitted the wrong one.

The rugged slab of photography

But what about Big Tex? The iPhone 12 Pro Max is the biggest iPhone ever made, by pretty much any measurement. And after I’ve spent a thousand words rhapsodizing about Apple’s tiny phone, you’d probably imagine that all I can do regarding the iPhone 12 Max is shrug and roll my eyes.

But no. I admire the iPhone 12 Pro Max for a lot of the same reasons I admire the iPhone 12 mini. The place of the iPhone 12 and 12 Pro at dead center in the iPhone product line gives the outliers the freedom to move confidently to the edges. The 12 mini is great because it doesn’t need to please everyone, just people who want a small phone.

And the iPhone 12 Pro Max is great because it is a phone designed without any real fear that it will be considered too big, too heavy, too bulky, or even too expensive. It’s an enormous slab of a device, dense and substantial—which is exactly what it should be. When I carry it, I feel like I’m holding a camera rather than a phone. If there ever was a phone that deserved to be called Pro, it’s this one.

The iPhone 12 Pro Max is an outlier in another way: It’s got a better camera than even the iPhone 12 Pro. The standard “wide” camera has an additional optical image stabilization system, and the telephoto camera has a bigger optical zoom. You buy more, you get more.

I think Apple should continue down this path with the Pro Max. Yes, it’s frustrating to have to decide between models, but why should Apple’s most expensive and largest iPhone be held back by the limitations of the other models? If there are improvements Apple can make in terms of camera hardware or just about anything else, and if they just don’t fit (literally) in smaller phones, it should make them to this dense slab and allow it to be the best it can be.

In practice, it seems like the improvements the 12 Pro Max has over the 12 Pro are extremely subtle, however. I recommend Austin Mann’s iPhone 12 Pro Max camera review, which shows off some improvements in low-light performance to go along with that extended zoom.

I am not much of a photographer, and in my experience the cameras on all the iPhone 12 models are excellent. HDR video is something to behold—and to play back on the phone displays. And ProRAW, available on both iPhone 12 Pro models, has huge potential to improve the workflows of pro photographers who use iPhone.

Perhaps the biggest improvement for photographers offered by the iPhone 12 Pro Max is its screen. It’s a 6.7-inch diagonal OLED display with 2778 by 1284 pixels. It’s huge, and that means you can see more of what you’ve got, or what you’re about to shoot, right there when you’re in the field.

Truth be told, the thing I miss most in using the iPhone 12 mini is the ability to get a big look at the pictures or video that I’ve shot. It might be obvious to say that the best thing about a big phone is that it’s got a big screen, but… there it is.

Separate ways, worlds apart

So can Big Tex and Little Rhody make it work, despite their huge differences? The truth is, the iPhone 12 mini and iPhone 12 Pro Max are at remote ends of an ever-expanding iPhone product line. What makes them both great individually is that they’re free to be themselves, to appeal to people who demand the most—or the least—from their iPhone.

Most people will opt for the iPhone 12 or the iPhone 12 Pro. But anyone who has found themselves craving a smaller phone will be thrilled by the iPhone 12 mini. That’s definitely me—but I have to tip my cap to the iPhone 12 Pro Max, too. If it were just a big and ungainly duplicate of the iPhone 12 mini, it wouldn’t impress me much. But it embraces its size and density and offers the most of everything the iPhone has to offer.

By Jason Snell

December 21, 2020 9:00 AM PT

20 Macs for 2020: #2 — The original PowerBooks

Note: This story has not been updated since 2020.

In the early days, using a computer was something you did in a space dedicated for that task. You went to the computer lab. You sat at a computer desk. You had to get back to the office to write up that memo or story at the computer. Long after the earliest computers filled large rooms, personal computers were large boxes, usually with large displays set atop them, anchored to a desk or a table.

It should have been obvious from the very beginning that the final form of the personal computer would need to be portable. Why go to a designated computer location when you could do those things wherever it was convenient?

The drive toward portable computers started relatively early in the life of the PC, and by the early 1990s 13 percent of PC sales were laptops. PCs were at the beginning of a long, slow transition that would transform them from devices anchored at desks to ones that could travel wherever the user would take them. In the fall of 1991, that transition was spurred on by a new line of portables from Apple: the PowerBooks.

Apple was late to the mobile computing scene in 1989, offering a “luggable”—the Macintosh Portable—just as the makers of PCs were shifting to thinner, lighter models. The Mac Portable was a flop, but from its ashes rose one of Apple’s greatest triumphs ever.

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