Where will all the photos go?

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Every day, billions upon billions of new images are made; one recent statistic put forth that there were more images made in the last year or two than the entirety of human history before that. It shows, too – in the early days of photography the bar for both content and technical quality was pretty low, given that it was amazing that there was an image at all; these days, there are so many repeats of ‘iconic’ images that they have become cliched and passé. Even though the rise of social media and broadband has enabled content to be consumed at a faster than ever rate, the math only goes one way: the rate of content being generated is increasing faster than the population, and the number of hours per day remains fixed – it is therefore easy to see that either less time is spent viewing a single image, or eventually people will get nothing done except scrolling instagram*. We already know the effect this has had on both the hardware market (positive, then saturated, then people get bored faster) and the professional market (terrible) – so the question I’d like to discuss today is a more fundamental one: what will happen to all of these images in the long term?

*Arguably, this is already happening.

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The quest for tactility

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No, the header image isn’t meant to be some abstract representation of touch; it can’t be, since physiological visual and tactile pathways aren’t the same. However, it is a demonstration of why we prefer object or image A over B when they are both conceptually similar (for example: one person over another; one car over another; one meal over another), and I suspect also why some things trigger certain responses in certain people – and moreover, why we are driven to seek out certain qualities of things over others. Today’s post is the distillation of some self-examination over the last year or so – I think I understand my own personal motivations better; hopefully you might take away something, too.

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Creative anxiety

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You’ve just spent a ton of money on a large, shiny new lens. The one youtube and the rumours sites have been on fire about for the last few months, proclaiming it better than caviar on truffle on foie gras. Gilded. You managed to actually get one in your hands, ahead of most of the mere hoi polloi. You found an ideal location by trawling instagram and looking at the number of amazing images that came out of that particular geotag. You booked a flight to the ends of the earth with a company specialising in adventure photography travel, endorsed by the gurus themselves. And just in case that wasn’t enough, there was a whole bunch of other ancillary support gear you had your eye on that you added – new SSDs, a kickass backpack that’s bulletproof, that compact tripod that folds to the size of a stick of gum but can hold an elephant, raised twenty million dollars on kickstarter in two minutes AND managed to save a schoolroom full of burning children whilst winning miss universe.

Yet when you step off the van into that sunrise…you can’t make a picture worth spit. Why?

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At the risk of losing your customers…

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Build it and they will come…for a while, and then it becomes an antiquated and cancerous white elephant. First published in the May issue of Medium Format Magazine.

Advance doom and gloom warning: If the photographic industry continues in its current trends (turning spec sheets up to 11; increasing launch prices then decreasing them dramatically over a product’s lifecycle; being inconsistent/imbalanced with design intent – tiny bodies, enormous lenses; ever shrinking ‘incremental’ improvements between generations; poorly implemented software UI/UX; launching of what is basically beta hardware; influencers who produce rubbish images but have large numbers of “followers” “likes” etc.) – expect to see some serious contraction and consolidation soon. In fact, the hard financial numbers suggest this has already begun. The reasons why are not rocket science, but pretty much every company is acting like a paralysed ostrich hoping that if they continue as they have been and pretend it’s all okay, it will be. It won’t, and the ones who survive are going to need to find some cojones.

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Computational photography: what ‘format’ is it?

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Gratuitous header; moment of enlightenment.

One of the unavoidable buzzwords of the last couple of years has been ‘computational photography’. Besides sounding slightly oxymoronic and insulting to the ‘real’ photographer who presumably represents what they see and doesn’t attempt to manipulate objects into (or out of) being that aren’t physically there, the reality is that it’s unavoidable and has been unavoidable since the start of the digital era. Everything that requires photons to be converted into electrical signals and back to photons again (whether off a display or reflected off a print) – must be mathematically interpreted and altered in some form before output. It is not possible to avoid this: the Bayer interpolation, in-camera JPEG conversions, any file format saving, conversion to print color space – a ‘computation’ has to be performed to translate the data. Hell, there’s already an implicit computation in the analog to digital stage (although arguably photons are already ‘digital’ since they represent discrete quanta of energy, but that’s another discussion for another time). However, what I’d like to discuss today* is something one step further down that road, and following on from the previous posts on format illusions: in light of the broader possibilities of computational photography, what does ‘format’ even mean?

*I.e. excluding things like subject recognition for tracking, depth mapping and simulated shallow DOF transitions etc. for the time being; we’ll revisit that later.

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OT: Hobbies and diversions

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Photography for me started off as a diversion – just as it probably did for many of you. It was the ideal hobby for a busy corporate person: without predictable chunks of free time, looking for something piecemeal that could be satisfying in a ten minute gap or stretched to fill an unexpected day. It combined elements of unpredictability, reward for improvement in skill, as well as instant gratification (between instant results and gear lust). As I developed my skills and found other things I wanted too communicate, it turned into a tool to let me express ideas in a way that could be understood by others. And then it became both a calling and a career. But at some point in the last couple of years, it also became all-consuming – to the point that there was no longer any boundary between work and not-work, and thus between photography for creative fulfilment and photography (and related activities) for a living. Photography used to be a break that forced me to refocus my thoughts and allow for creative experimentation; inspiration would flow between different kinds of photography, different approaches for different subjects (i.e. client-subjects and personal-subjects) and different creative processes – photography and non-photography. But without the break: how does one you find inspiration?

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Back to basics: Cut points and edges

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Symmetry and clean termination points – lowered contrast at the edges helps, too.

Judging from the correspondence and comments flying around recently, it’s about time we did a refresher course here on the fundamentals of composition and image-making. As usual, there’s far too much obsession over hardware and not enough thought about what it’s actually being used for. This will be the first of several posts from the archives in this theme. That said, those people are unlikely to read these posts anyway…

In the past, I’ve written about the importance of conscious exclusion in the process of composition: you don’t want to confuse your audience by including elements that are irrelevant or worse, distracting and visually stronger than the main subject. As we know, the very act of composition itself is one of both cropping and curation: we are choosing what not to show as much as what to show, based on our own preferences and biases. How we structure the rest of the composition around that is very much up to us, and of course the intended story or message of the image. But where do we end things – and in what situations is a little trimming necessary? How can we achieve a clean frame and a clean idea?

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Off topic: For the joy of driving…

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Not so long ago, we’d all have laughed if you’d said hybrid and electric vehicles were the way of the future. I know I did; infrastructure being the main stumbling block, the other one simple physical resource requirements and handling (think of all those batteries and limited lifespans). Technological development is much less of a headache whenever there’s large-scale consumer spending involved; look at how fast we’ve gone from phones with buttons to touch everything – though I can’t help but wonder why small scale batteries are still so rubbish given that market must still surely be much larger than electric vehicles. Long story short, given the current state of legislation, misunderstandings of technology* and social media hysteria – internal combustion’s days are numbered. Even the EU has legislated a halt in combustion engines from 2030. I make no secret of the fact that I like cars. And honestly…the vast majority of these modern-produced things are not cars. Where does this leave us enthusiasts?

*Remember diesel? It was cleaner/more efficient then it wasn’t and now it’s non-existent. All in the space of five years. I know I miss 1200+km/tank range and filling up my car once a month…

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Two cents off the soapbox

Alternative title: what’s actually new?

Following the recent hyped launches of the Panasonic S1R, Canon RF, Fuji GFX100, genuine pet eye smile AF tracking etc. – I’m finding myself looking at things from a fairly objective standpoint and asking how the industry is going to survive, let alone grow, in the long term. The simple reason is there has been fundamentally almost nothing in the ‘conventional’ camera market that allows us to do anything different from a creative standpoint. Before people take up their pitchforks, let me clarify several things…

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In praise of crappy hardware

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I’ve had the privilege and frustration of working with both the best and worst hardware of a wide variety of types. I say this independent of cost, as often it isn’t a good indicator for suitability to a given task – in fact, this is increasingly true as cost increases and your tools get more specialised. It’s also not always true given reliability issues, customer support and other general electronic weirdness and histrionics. Perhaps crappy is an unfair term that probably does the hardware in this discussion a disservice. If you haven’t noticed, the industry has been changing silently but surely: the midrange has gone high end, the high end has gone stratospheric, the bottom end is gone, and the midrange has gone downmarket. We now have multiple $3000-4000 FF ‘pro’ lenses released as par for the course and nobody blinks an eyelid (compare that to just a few years ago when only the Otuses were in that territory, and the same lenses were in the $1000-2000 range). We have the ‘low’ end of medium format now below the high end of full frame – $4000 Fuji GFX50R vs $7000 Leica M10 – and we have some true bargains at the beginner level. We have entry points into full frame at sub-$1000 (albeit in older hardware, though still available to buy new). That’s a psychologically significant number; it’s the price point of the Nikon D70 and Canon 300D back in the days of the first actually affordable DSLRs in the early 2000s. What if we go lower still?

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