Tag Archives: photography

If I were a camera company I’d be nervous

September 22, 2017 By in Culture, photos Tags: , , 1 Comment

I’d be nervous because phone makers and especially Apple are iterating so fast on hardware and software that nearly everyone is going to end up using phone cameras, with the exception of some dedicated pros and the most obsessive amateurs. Right now the media is saturated with articles like, “How Apple Built An iPhone Camera That Makes Everyone A Professional Photographer.” Many of those articles overstate the case—but not by much.

To be sure, phone camera sensors remain small, but Apple and Google are making up for size via software; in cameras, as in so many domains, software is eating the world. And the response so far from camera makers has been anemic.

If I were a camera maker, I’d be laser focused on making Android the default camera OS and exposing APIs to software developers. Yet none seem to care.* It’s like none have learned Nokia’s lesson; Nokia was a famously huge cell phone maker that got killed by the transition smartphones and never recovered. I wrote this about cameras in 2014 and it’s still true today. In the last three years camera makers have done almost nothing to improve their basic position, especially regarding software.

“Not learning Nokia’s lesson” is a very dangerous place. And I like the Panasonic G85 I have! It’s a nice camera. But it’s very large. I don’t always have it with me. Looking at phones like the iPhone X I find myself thinking, “Maybe my next camera won’t be a camera.”

Within a year or two most phone cameras are likely to have two lenses and image sensors, along with clever software to weave them together effectively. Already Apple is ahead of the camera makers in other ways; some of those remain beneath the notice of many reviewers. Apple, for example, is offering more advanced codecs, which probably doesn’t mean much to most users, but implementing H.265 video means that Apple can in effect halve the size of most videos. In a storage- and bandwidth-constrained environment, that’s a huge win (just try to shoot 4K video and see what I mean). Camera makers should be at the forefront of such transitions, but they’re not. Again, Samsung’s cameras were out front (they used H.265 in 2015), but no one else followed.

Camera makers are going to be business-school case studies one day, if they aren’t already. They have one job—making the best cameras possible—and already Apple is doing things in a $1,000 smartphone (next year it will likely be $800) that camera makers aren’t doing in $2,000+ cameras.

That’s incredibly bad for camera makers but great for photographers. I may never buy another standalone camera because if phones do pictures and videos better, why bother?

* With the exception of Samsung, which had a brief foray into the camera world but then quit—probably due to a declining market and low margins. And Thom Hogan has been beating the Android drum for years, for good reason, and it appears that no decision makers are listening.

Women like to watch other women

September 24, 2014 By in Briefly Noted, Culture Tags: , , , Leave a comment

Although I would classify this as speculative, Noah Berlatsky writes that “Women Appreciate Good Booty-Shaking, Too” and that “Women can look at sexualized images of women all day every day.” Moreover, and perhaps more importantly, they do: look at the covers of magazines targeting women and you’ll mostly find… pictures of other women. Look at magazines devoted to men and you’ll also tend to find… women. Men like looking at women and apparently women like looking at other women.

This link may be NSFW, though it is primarily text, but the blog Pornhub Insights (which probably got started after the success of OkTrend’s data-driven blog about online dating) has a post called “What Women Want” that observes how “Pornhub’s Lesbian category is the leading favorite among the ladies, with Gay (male) following close at second place.” That’s a revealed preference not dissimilar to what magazines targeting women have also found.

IMG_0382A couple people have observed that my Flickr photos tend to feature more women than men, and likewise the photos on this blog. That may be true, but that may be because I’m giving audiences what they want.

I don’t have any good theories or research on the politics, cultural, or biology of why we might be seeing this phenomenon, but I do have a rationale for why I choose what I choose. Not every photographer will care about this, of course, but those who are contemplating what subjects people want to see should at least be cognizant of popularity.

Photography and Tyler Cowen’s “Average is Over”

March 25, 2014 By in Culture, ideas, Nonfiction, photos Tags: , , , , , , , 3 Comments

Tyler Cowen’s Average Is Over should be read for many reasons, and one of them is a prediction that marketing and similar activities are going to grow in importance over time. At first I thought the claim was bullshit: shouldn’t the Internet make substance win over style? In many ways it does, but I keep seeing evidence that supports Cowen’s point. The latest example: a few years ago I became interested in photography. A few days ago Thom Hogan wrote an essay called “What’s Your Biggest Problem?“, in which he says:

I’d say that the biggest problem I find that most photographers have is a really fundamental one: what is it they’re taking a photo of? And why?

Ironically, pros didn’t use to have this problem. If you were working for a client, generally they were directing you towards what you were taking a photograph of and why. Back in the film days just mastering the technique of getting proper exposure and focus and all the rest was generally enough to set you apart. These days of ubiquitous and cheap stock photography and digital cameras with instant feedback on the basics, for a pro to stand out they need something more than the basics: generally a recognizable and unique style.

Indeed, that is one of the two primary problems pros have these days. Problem 1: standing out amongst all the good imagery that exists, much of it near “free”. Problem 2: marketing yourself so that people know your work. Unfortunately, solving #2 means that you have to be highly visible, which makes more people attempt to copy you, which eventually increases problem #1. Pros have to keep moving, keep reinventing themselves, and above all be great marketers and salespeople.

average_is_overMachines (cameras, in this case) are getting so good that even relatively unskilled photographers like me can take pretty good shots most of the time, and marketing distinguishes a lot of the pros from uncompensated amateurs who share their work online.

A lot of high-skill / low-income photographers disdain Terry Richardson for “boring” shots, blown-out highlights, and other technical flaws, and those photographers say that they could do what Richardson does. (More than a little jealousy also probably animates those attacks, since Richardson appears to lead an active, varied sex life—let’s ignore that for now.) But Richardson has something important almost no one else does: people know his name and to a lesser extent his work. Not many photographers have strangers who know their name—let alone have strong opinions about their work. Whatever his flaws may be, Richardson has what people commenting on the Internet don’t: a brand.

More very good photos are probably being taken today than ever before, and, as I wrote here, I’m a small but real contributor. Writing is still the main focus of my life but I still get some decent shots. Like anything touched by computers and Moore’s Law cameras are getting better all the time, and that makes the shooting envelope more forgiving. I shoot with an Olympus E-M5 that originally retailed for about $1,200 and now goes for half that used.* The E-M5 is better in many respects than most of the professional cameras that cost many thousands of dollars in 2006, and in a year or two it’ll be cheaper still.**

OLYMPUS DIGITAL CAMERASoftware tools like Adobe Lightroom are also making pictures easier to enhance (or “save”) through simple parameter adjustments. Most semi-serious photographers learn to shoot in their camera’s raw file format, which yields greater latitude in post-processing. It’s often possible to get a very professional look by changing a few parameters. Messed-up shots can often be saved in post-processing. That’s always been somewhat true but it’s becoming more true over time.

So what’s going to separate the pros? Marketing. Money in what’s called “stock” photography has already basically disappeared, and journalistic photographers have seen their ranks dwindle along with newspaper subscriptions. Photography is becoming a secondary, not primary, skill for many people. For example, this guy took professional-caliber shots for his friend’s website.

What’s left is finding a way to make people think you’re better than the race-to-the-bottom, even if some people still think some heavily marketed / known photographers are the bottom.

* The people in charge of camera naming and marketing are idiots. Cameras are named with a baffling array of impossible-to-remember letters and numbers, and only obsessive nerds like me take the time to figure out what they mean. The only camera with some mainstream name recognition is the Canon Rebel line; while the name is nonsensical—what exactly is one rebelling from?—it is at least memorable. If I were put in charge of a camera company I’d start by firing everyone in marketing and PR.

** Update from 2015: Olympus just released the OM-D E-M5 II (the successor to my camera), and it’s retailing for $1,100—yet the the updates are, charitably speaking, minor. The new camera will put price pressure on the model I use, which is now under $400 for a still-incredible camera. Camera companies can’t get people to upgrade because existing cameras are so good.

The modern art (and photography) problem

February 8, 2014 By in Essays, Links, photos Tags: , , , , , , 8 Comments

In “Modern art: I could have done that… so I did: After years of going to photography exhibitions and thinking he could do better, Julian Baggini gave it a go. But could he convince The Royal West of England Academy with his work?“, Baggini writes:

there are times when we come across something so simple, so unimpressive, and so devoid of technical merit that we just can’t help believing we could have done as well or better ourselves.

He’s right—except that this happens entirely too often and helps explain much of modern art’s bogosity. I’m not the only person to have noticed—in Glittering Images, Camille Paglia writes:

the big draws [for museums] remain Old Master or Impressionist painting, not contemporary art. No galvanizing new style has emerged since Pop Art, which killed the avant-garde by embracing commercial culture. Art makes news today only when a painting is stolen or auctioned at a record price.

She’s right too; many people have noticed this but few apparently have in the art world itself, which seems to have become more interested in marketing than making (a problem afflicting the humanities in academia too). But there are enough people invested in and profiting from propagating bogosity that they can remain indifferent to countervailing indifference.

OLYMPUS DIGITAL CAMERAYears ago I was at the Seattle Art Museum and looking various pieces of modern supposed “art” that consisted mostly of a couple lines or splotches and what not, and they made me think: “there’s a hilarious novel in here about a director who surreptitiously hangs her own work—and no one notices.” Unfortunately, now I’ve realized that people have already done this, or things like it, in the real world—and no one cared. It’s barely possible to generate scandal in the art world anymore; conservatives have mostly learned about the Streisand effect and thus don’t react to the latest faux provocation. The artists themselves often lack both anything to say and any coherent way of saying it.

To the extent people respond to art, they respond to the art that people made when it took skill be an artist.

Photography has a somewhat similar problem, except that it’s been created by technology. Up until relatively recent it took a lot of time, money, and patience to become a reasonably skilled photographer. Now it doesn’t take nearly as much of any of those things: last year’s cameras and lenses still work incredibly well; improvements in autofocus, auto-exposure, and related technologies make photos look much better; and it’s possible to take, review, and edit hundreds or thousands of photos at a time, reducing the time necessary to go from “I took a picture” to expert.

The results are obvious for anyone who pays attention. Look through Flickr, or 500px, or any number of other sites and you’ll see thousands of brilliant, beautiful photos. I won’t say “anyone can do it,” but many people can. It’s also possible to take great photos by accident, with the machine doing almost all the work apart from the pointing and clicking. Adding a little bit of knowledge to the process is only likely to increase the keeper rate. Marketing seems to be one of the primary differentiators among professional photographers; tools like Lightroom expand the range of possibility for recovering from error.

One of the all-time top posts on Reddit’s photography section is “I am a professional photographer. I’d like to share some uncomfortable truths about photography,” where the author writes that “It’s more about equipment than we’d like to admit” and “Photography is easier than we’d like to admit.”

The profession is dying, for reasons not identical to painting but adjacent to it. In photography, we’re drowning in quality. In fine art, we’re drowning in bogosity, and few people appear to be interested in rescuing the victim.

Amazon.com is clever in its use of tracking and follow-up e-mails

March 31, 2013 By in miscellaenous Tags: , , , , , 1 Comment

I’ve been thinking about selling my camera and buying a smaller one, so I’ve been reading about the various choices and, naturally, looking at prices—including prices on Amazon. This morning I found, unprompted, a random e-mail from Amazon:

Screen shot 2013-03-31 at 8.58.59 AM

Not only has Amazon listed at the top some of the cameras I’ve looked at (like the X100S and RX1), but it recognized the general kind of camera I’m interested in (high-end, fixed lens camera; small mirrorless cameras) and listed a bunch of those too. Some of them are misses—Leica’s cameras look completely silly to me—but the hits are there. I haven’t done more than browse, and browsing alone caused Amazon to kick out an e-mail telling me about their financing credit card. I don’t think I’ve ever seen a retailer do so before.

The Amazon finance card doesn’t interest me and I’m not going to buy a camera today—or one from Amazon, because of they charge sales tax and most online retailers don’t. But I’m simultaneously impressed and creeped out by the company’s nudge e-mails.

This e-mail and post are also useful reminders: virtually everything you do online can be tracked, if someone wants to track you. Amazon does, for reasons that presently seem benign. Nonetheless, next time I move I might delete this account (if that’s possible) and start another one, which won’t have a purchase history going back to 2002.

The Facebook Eye and the artist’s eye

September 17, 2012 By in Culture, ideas, Life, Writing Tags: , , , , , , , 1 Comment

“We are increasingly aware of how our lives will look as a Facebook photo, status update or check-in,” according to Nathan Jurgenson in “The Facebook Eye,” and the quote stood out not only because I think it’s true, but because this kind of double awareness has long been characteristic of writers, photographers, artists, and professional videographers. Now it’s simply being disseminated through the population at large.

I’m especially aware of this tendency among writers, and in my own life I even encourage and cultivate it by carrying around a notebook. Now, a notebook obviously doesn’t have the connectivity of a cell phone, but it does still encourage a certain performative aspect, and a readiness to harvest the material of every day life in order to turn it into art. Facebook probably isn’t art—at least to me it isn’t, although I can imagine some people arguing that it is—and I think that’s the key difference between the Facebook Eye and what artists are doing and have been doing for a very long time. I’ve actually been contemplating and taking notes on a novel about a photographer who lives behind his (potentially magic) camera instead of in the moment, and that might be part of the reason why I’m more cognizant of the feeling being expressed.

Anyway, Michael Lewis’s recently gave an NPR interview about his recent Obama article (which is worth reading on its own merits, and, like Tucker Max’s “What it’s like to play basketball with Obama,” uses the sport as a way of drawing larger conclusions about Obama’s personality and presidency). In the interview, Lewis sees Obama as having that writer’s temperament, and even says that “he really is, at bottom, a writer,” and goes on to say Obama is “in a moment, and not in a moment at the same time.” Lewis says Obama can be “in a room, but detach himself at the same time,” and he calls it “a curious inside-outside thing.” As I indicated, I don’t think this is unique to writers, although it may be more prevalent or pronounced in writers. Perhaps that’s why writers love great art and, in some ways, sex, more than normal people: both offer a way into living in the present. If writers are more predisposed towards alcoholism—I’m not sure if they are or not, though many salient examples spring to mind—getting out of the double perspective might be part of the reason why.

I think the key differences between what I do, with a notebook, and what Facebook enables via phones, are distance and perspective. My goal isn’t to have an instantaneous audience for the fact that I just did Cool Activity X. Whatever may emerge from what I’m observing is only going to emerge in a wholly different context that obscures its origins as a conversation, a snatch of overheard dialogue, a thing read in a magazine, or an observation from a friend. The lack of immediacy means that I don’t think I’m as immediately performative in most circumstances.

But the similarities remain: Jurgenson writes that “my concern is that the ultimate power of social media is how it burrows into us, our minds, our consciousness, changing how we consciously experience the world even when logged off.” And I think writing and other forms of art do the same thing: they “burrow into us,” like parasites that we welcome, and change the way we experience the world.

Still, the way we experience the world has probably been changing continuously throughout human history. The idea of having “human history” is a relatively recent idea: most hunter-gatherers didn’t have it, for example. The changes Facebook (and its analogues; I’m only using Facebook as a placeholder for a broader swath of technologies) is bringing seem new, weird, and different because they are, obviously, new. For all I know, most of my students already have the Facebook Eye more than any other kind of eye or way of being. This has its problems, as William Deresiewicz points out in “Solitude and Leadership,” but presumably people who watch with the Facebook Eye are getting something—even a very cheap kind of fame—out of what they do. And writers generally want fame too, regardless of what they say—if they didn’t, they’d be silent.

I think the real problem is that artists become aware of their double consciousness, while most normal people probably aren’t—they just think of it as “normal.” But then again, very few us probably contemplate how “normal” changes by time and place in general.

Thanks to Elena for sending me “The Facebook Eye”.

DSLRs, smartphones, and point-n-shoots

January 4, 2012 By in Culture Tags: , , , , , , , , Leave a comment

Pictures taken with smartphone cameras almost outnumber standalone digital cameras. A couple thoughts:

1) More people probably have phones with them than regular digital cameras, so the “photographer base” is probably much larger. For more statistical anomalies, see C|Net’s take. Moral: it’s easy to lie / mislead with statistics!

2) People who have standalone digital cameras, especially dSLRs, probably take more pictures than people without; so I would guess a larger number of pictures are taken by a smaller number of people in that case. I would tend to guess they also take better pictures: not because of some magical quality dSLRs possess, but because people who know a lot about photography are more likely to buy better cameras.

3) Separate from the article, I have never seen a greater number of dSLRs than I did in NYC. Tourists, I guess? I never conspicuously hauled mine around. I wonder which city would qualify as “most photographed in the world;” perhaps Flickr or Facebook’s data hordes could answer. I would guess Tokyo or London.

4) Smartphones are clearly reaching (and, in some cases, have already reached) the “good enough” stage that so much consumer technology eventually does. I wouldn’t trade a Canon s100 or t2i for a phone camera, but in decent lighting the iPhone 4 and 4s do produce nice results. Note that interchangeable lens camera sales are up, probably because the Internet makes pictures more valuable for amateurs because of the possibility of sharing and perceived status gain.

5) The photographer still makes the camera more than vice-versa.

6) For any kind of composed shooting, a tripod will do more than anything except decent lighting, whether natural or studio.

7) Life is uncomposed, and capturing life might demand the same.

8) What am I missing?

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