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This article underlines some aspects that relate, on the one side, to the technological devices necessary to photography production and, on the other, the kind of practices that shape and are shaped by those devices. It discusses how those relationships have shaped different visual regimes. Based on theoretical approaches like Science and Technology Studies (STS) and the Socio-technical Interactions Network (STIN) perspective, the article starts with a brief historical description focusing on the production of photos as a three-step process: 1) infrastructural elements of image production; 2) technologies of processing images; and 3) distribution/showing of images. It is proposed that photography has had four moments in this history. Finally, the article discusses the latest socio-technological practices, and proposes that the iPhone is the best example of the kind of devices that are possibly opening a fifth moment in photography technologies.
Studying Mobile Media: Cultural Technologies, Mobile Communication, and the iPhone
Between image and information: the iPhone camera in the history of photography2012 •
International Journal of Applied and Creative Arts
Digital Photography and the Future of Photography CultureThis paper aims to review the current situation on how Photography has completely changed the way we see and engage with the world. The shift from analogue to digital Photography significantly impacted how an analogue photographer perceives the photo process. In the age of these diverse prosumers, the distinction between artists, media professionals, and amateurs may still denote varying degrees of craftsmanship. However, it no longer indicates the inherent technical or aesthetic quality of the results or the likely size of an audience. The impacts give the impression that the aesthetics and attention of Photography provided revolution change in the society of arts and Photography. From this perspective, Photography has first been chemical, then optical and now computational. The changing identities of Photography herein are not simply ontological transformations but also errant modes of perceiving the medium.
Espacio Tiempo y Forma. Serie VII, Historia del Arte
The Photographic and Its Mediatory System: Artistic, Technical and Commercial Values at the Dawn of Photography = Lo Fotográfico y El Sistema Mediador. Valores Artísticos, Técnicos y Comerciales en Los Inicios De La Fotografía2014 •
Photographs disclose to people the access to a certain scenario, a sort of window through which one can enter and see what another person is experiencing, where imagination becomes the fuel for this kind of rapture.
2012 •
Since its emergence as theoretical object, photography has been defined by the loss of its identity as a historical and aesthetic object. Rosalind Krauss maintains that, “in becoming a theoretical object, photography loses its specificity as a medium,” so that “now photography can only be viewed through the undeniable fact of its own obsolescence.” Digitization further complicates the ontology of photography. Today, Geoffrey Batchen submits, the “suggestion is that a diminution of our collective faith in the photograph\u27s indexical relationship to the real will inevitably lead to the death of photography as an autonomous medium.” In contrast to such ambivalent assessments, Vilém Flusser argues that photographs are technical images, surfaces enabled and determined by the apparatus that open up an unanticipated power of invention, a hallucinatory power springing from the absence of a point of reference. The universe of technical images, he suggests, produces a “mutation of experienc...
EVA London 2014 Electronic Visualization and the Arts Conference Proceedings
The unstoppable rise of mobile imaging and aesthetics2014 •
Smart phones are ubiquitous; light, portable and indispensable. The spatial, perceptive and visual connections among scene, subject and photographer are different, compared to a regular camera. This fact enables the photographer to focus on different topics, try practices s/he has not tried before. Mobile devices change the way we create, edit, sequence and share photography. When you do street photography with a smart phone camera, one of the advantages is that people do not really understand where you aim at and what you photograph. They do not react as consciously as they would in front of a regular camera. The reason is; almost all people, including locals and tourists, own a smart phone and taking a snap with them is very common practice for all. Okabe and Ito (2006) argue that: “The camera phone is a more ubiquitous presence, and is used for more personal, less objectified viewpoint and sharing among intimates. It tends to be used more frequently as a kind of archive of a personal trajectory or viewpoint on the world, a collection of fragments of everyday life.” Ease of use seems to make smart phone recording as one of the "sine qua non" practices of photography. There are many documentary photographers, reporters, journalists, professional photographers and even artists, film directors who take this apparatus seriously and use it. Some camera makers, like Samsung, are aware of the power of mobile imaging (described as “quantum imagery” by Fred Ritchin) and started to produce cameras 3G / 4G connectivity. Before the digital revolution, the percentage of the “amateur” photographers was relatively less as compared to the digital era. Shooting with film was more difficult as analogue processes allowed less room for errors. After the launch of cheap compact digital cameras amateurs generated more self-confidence in imaging since they were offered the possibility of fixing any mistakes by just erasing any faulty photo. The introduction of cameras into smart phones was yet another dimension at which people felt even more poised to take photos, since the tool is not a “professional” apparatus with which you are expected to create expert results. In the light of above facts, I think it would not be wrong to say that phone cameras give a personalized power to their users. Nowadays, with the possibilities offered by social media tools, regular people contribute to the making of their local and global histories with the “amateur” personal images they make, which partially shape their identities. This can defined as power of the individual, using visual imagination as a tool. This paper aims to discuss how mobile digital imaging alters the creation, perception and aesthetics of visuality. Contemporary photographic culture is definitely more intricately intertwined with popular culture as compared to photography in the 20th century and this should not be interpreted as a weakness but strength, when used consciously.
The Journal of International Social Research
Digital Photograph as a Method of Experiencing, Identity Construction and Pieces of Networked Memory2018 •
2005 •
1.0 Abstract In 2003, sales of digital cameras surpassed those of film cameras, and there has been widespread adoption of digital photography by professional photographers. While scholars have long argued that photography plays an important social role, few have examined photography as a socio-technical phenomenon. Digital photography, considered as a set of novel technological artifacts supplanting traditional cameras, offers new opportunities for studying how photographers work and communicate.
2008 •
Annales de Chirurgie de la Main
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Public Health
Characteristics of a population-wide sample of smokers recruited proactively for the ESCAPE trial2012 •
International Journal of Scientific and Research Publications (IJSRP)
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Materials Science and Engineering: B
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