INTRODUCTION

With digital technology dramatically changing the way we live today, photography is

a great example that one does not have to study in the field in question, but is able to

refer to oneself as a Photographer – being able to carve meat does not enable one to

become a Butcher.

Picking a butchers knife up and picking a camera up is a very similar act in some

respect, although it doesn’t compare in the slightest when referring to the purpose

between a knife and a camera, in others it’s exactly the same – one of the major

similarities can be seen when used correctly, both are capable, if operated right, can

produce successful careers. Both need to be clean to function with confidence and

well maintained for optimum use and performance. Both need to be respected, more

so the knife. More importantly they both need to be mastered to be understood.

Whereas the camera has adapted with the change towards digital technology, the

butcher’s knife is still a butcher’s knife. The blades may be made out of much

stronger materials as offered before, leaving them sharper, more manageable and

attractive, or the handles are crafted from a much softer, easy-on-the-hand compound

instead of wood or rope, it is still of the technology it originated from.

With this the skill is within the person operating the knife, the butcher. Being able to

remove a thigh bone from a cow’s hind without a trace of bone, ligament or gristle

remaining in the meat is down to the experience and knowledge of the butcher. There

is no digital comparison available that could replace the knife. One can not just pick a

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Butchers knife up and expect to repeat their actions without ill fate or meat that’s

none consumable. This is a trade he or she has learnt, taken time listen. Therefore a

Butcher is a job title that is only gained by learning the trade of Butchery.

There are schools in Butchering so one can study to achieve a complete

understanding, but also one can be self taught, mainly by being brought up in the

trade or being taught by older family members to carry on the family business.

Where as someone who hasn’t the faintest idea on operating a camera can claim to be

a Photographer. If one wants to become a photographer one can. Simply by buying a

digital camera allows the opportunity to arise. Most models offer ‘Auto’ mode, so

therefore the whole process of selecting the right settings for a correct exposure is

calculated (apart from aiming and releasing the shutter). Without going into

education, becoming a self taught Photographer can easily be achieved.

The rise in the internet has enabled photography to take a different platform. From

Vlogs to Tutorials you can search the internet to find the exact style you are looking

for.

The majority of these are directed at the ‘new comer’, for someone who knows very

little about photography but can pick up tips and advice on how to shoot. If you have

the same equipment then surely you can take a similar photograph? But this is

arguable because a photograph is not made in the camera. It is taken on but the eye,

heart and mind of the photographer. This isn’t just a ‘given’, it’s about training the

mind to see the photograph before the camera is even drawn up to the eye.

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Chapter 1 – The Self Taught Photographer

In the early stages of Photography, it wasn’t so much about capturing the image but

more about the negative/positive process and the frustration to ‘fix’ an image to a

glass plate. This lead to photography being a little unstable, but this soon changed in

the 1850’s when chemicals and optics were secured. Since this breakthrough

photography has been available to the general pubic. Those intelligent and rich

enough were able to try out this new, exciting technology.

So, since the 1850’s through to the 1980’s (and to present day for some), for the self

taught photographer the process has been relatively the same, although with

advancements in the development of the colour negative and colour transparency, the

principals are the same. In the 1990’s digital was forming and in the millennium to

present day it has been taken to a whole new level.

American Stephen Shore, a self-taught photographer with an interest in the field from

an early age was photographing the world he saw through a 35 mm camera, 5 years

later he sold 3 pieces of work to the Museum of Modern Art (MoMA) after presenting

a selection of photographs to Edward Steichen, whom was curator of the museum at

the time. Rubbing shoulders with Andy Warhol, Shore was already establishing

himself on the art scene that was happening in New York in the 1960’s. Warhol

would often be photographed by Shore as they ‘hung out’ in the Factory (Warhol’s

studio) amongst other famous people that came with being around Warhol and the art

scene at the time. These included Lou Reed from the Velvet Underground and Yoko

Ono, from Japan (Fig 1 & 2).

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With just shy of publishing 30 photographic books, Shore’s 28th book - Factory

(Shore, Phaidon Press, 2016) it’s a representation of what occurred on a daily basis in

the Factory from 1965-67. Images are selected by Shore from his personal archive

make up the book.

Figure 1. Stephen Shore, Untitled (1966)

Figure 2. Stephen Shore, Untitled (1966)

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This enabled Shore, a mere 17 year old to educate himself on what was important if

he was going to progress within the art world as a Photographer. Although he was self

taught in photography, he was untutored with how the art scene operated. After being

exposed to Warhol and the Factory for around 2 years and performing as an artist,

Shore took note of what was happening around him and made decisions to ensure

what direction he was taking.

“I think I learned by observing -- not observing him in order to learn, just by being exposed to the decisions and the actions he was making. More basic was simply a transition to thinking aesthetically.By the end of my stay at the Factory, I found that just my contact with, and observation of, Andy led me to think differently about my function as an artist. I became more aware of what I was doing.” (Shore, 2016: Online)

Without finding himself in that position it could be argued that many-a-book

produced from Shore may not have been created – from the raw looking black and

whites shots in the Factory to using a 10x8 Field Camera with colour transparencies a

decade after, when photographing the banality of the American landscape. This could

be linked visually with the works of Warhol throughout the Pop Art movement.

Shore’s book – Uncommon Places, originally published 1982 is a visual

documentation of portrays how America looked throughout the 1970’s. The style of

the photography in the book is colourful and indicates consumerism in almost every

image.

Shore focuses on the brightly coloured advertisement painted on the gable end in the

centre of the image and it would be self explanatory as to why one would suggest this.

(Fig 3)

Looking at the image as a whole and for a length of time other attributes start to

appear that give the image depth. Firstly, as mentioned, advertising. Cash and credit

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offerings, the Pepsi brand with three directly obvious signs, numerous shops and

grocers whilst all highly coloured. In the foreground we can see Will’s Pawn Shop but

in the background, and not so prominent is Kroger’s head office. Established in 1883

in Cincinnati, Ohio, Kroger is America’s largest supermarket by revenue ($109.83

Billion for fiscal year 2015). Looking at the image, which was taken from the junction

of West 15th and Vine Street, Cincinnati, Ohio, it seems ironic that Shore should place

the two parallel, with the smaller company being the biggest advertiser.

Secondly, the juxtaposition with the men in the image and the telegraph poles, street

light and bus stop. It is only the buildings that are standing straight with the viewer’s

eye being drawn into the building which hosts the main sign, to notice a row of

windows bricked up. This could be visually erotic to someone like Stephen Shore.

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Figure 3. Stephen Shore, West Fifteenth Street and Vine Street, Cincinnati, Ohio (1974)

There are two themes that relate Figure 3 and Figure 4 and it’s obvious to see. Again,

(Fig 4) the main focus in the image is about advertisements and high colour. Another

interesting aspect of the image is the notion of every-day life as it portrays through the

composition, which leaves the viewer content with its familiarity. The banality that is

someone’s half eaten meal is familiar but it takes an artists mind to see the world in a

different light. It’s real, and what makes it more real is the sense of someone has been

sat there before ate the same table, but they chose to mark the table in their own way

as Shore photographed it in his way. The eye of the viewer is drawn in, as it would

with a Renaissance painting using the Golden Ratio.

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Figure 4. Stephen Shore, Perrine, Florida (1977)

Chase Jarvis, another American self-taught photographer but who started in

photography in his early 20’s. Born in 1971 he owes his destiny to his grandfather,

who, on passing away willed all his camera equipment to his grandson. With this he

travelled around Europe for a year learning photography through experiment and

independent study.

On returning he photographed famous snowboarders and skiing friends in Colorado.

This lasted 2 years before he sold is first photograph for a pair of skis and $500, to

skiing company, Hart Skis. Soon after that he sold the copyright on a batch of images

to the American outdoor clothing firm REI (Recreational Equipment, Inc), with the

monies from this sale he opened up his own studio. This gave him the opportunity to

work with such Powerhouses as Nike, Google, Apple, Samsung, Red Bull and

McDonald’s.

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Swapping to digital was a good move for Jarvis and the kind of work he was doing as

a commercial photographer because in 2008, Nikon hired him to launch their new

video digital SLR, the D90, and again in 2010 for the release of the Nikon D7000.

When the iPhone was first release in June 2007 it held a 2.0 mega pixel camera with a

fixed-focus lens. Chase took the Smartphone under his wing and started taking

photographs everyday with the built in camera as a notebook towards his professional

work. Recognising that a photograph does not have to be about dynamic range, fine

grain or mega pixels, and more about the moment and stories, he himself launched an

app that would enable the person with the device to take charge and act independent

of the manufacturer settings to change the look of an image by using one simple app.

The app - Best Camera - was accompanied by a book which was titled The Best

Camera Is The One That’s With You, 2009 (Fig 5). In it, it explains iPhone

photography for beginners. Breaking down things in to simple steps that some might

not understand and how to operate a mobile phone in low lighting situations.

In 2010, Jarvis co-founded CreativeLive, along with Craig Swanson, an online

educational platform which broadcasts live, free workshops and tutorial to

photographers around the world. These are mainly aimed at digital users for tips and

tutorials regarding editing software, studio lighting, wedding and portrait

photography. In 2014 he become COE.

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Figure 5. Unknown, The Best Camera Is The One That’s With You (2013)

In an interview, Jarvis was asked whether he finds it strange that he gets to travel the

world with expensive camera equipment, then to publish a book made up of only

iPhones photos, and also, how he came up with a wildly successful iPhone app that

made tweaking and sharing photos easy and a created an entire community around it?

“My goal is never to make a project large scale. My goal always stems from solving a creative problem or creative challenge. 

At the most fundamental level of the whole iPhone movement was my desire to have a visual journal.

When the iPhone first came out I started taking pictures with it every day. As someone who travels the world shooting major ad campaigns with all the best equipment in the world, this little camera that at first had only 2 megapixels suddenly gave me more creative freedom than I felt like I had in my professional life. And that was incredibly interesting and empowering for me” (Jarvis, 2011: Online)

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Chapter 2 – The Amateur Photographer

The Amateur has been taking photographs as early as the turn of the 19th Century,

when the American firm, Kodak, released their first commercial camera in 1888, the

Kodak No. 1. At the same time it could be said that it was also the first disposable

camera, as the consumer had to send the camera back to Kodak for the developing of

the roll film. The optics weren’t of a high standard which forced Kodak to produce a

circular exposure on the negative rather than full frame. Producing a round

photograph gave the photographer the advantage of not having to hold the camera

consistently level with their subject, but also compensated for the poor image quality

produced had the negative been printed to the edges of the paper. Over a decade later

in 1898, Kodak introduced its folding pocket-camera (Fig 6), which amateurs were

most keen about due to the pocket-sized package it folded down to and the ‘postcard’

size photographs produced. Let alone it being far more advanced than anything

previously design. This brought curiosity upon the financially endowed, enabling

them to try out the technology as it started to get more popular. In 1901, photography

became affordable when the first Box Brownie, by Kodak, was made available to the

masses. The same year they introduced 120mm format.

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Figure 6. Kodak Folding Camera No 1 (1898)

By the outbreak of World War 1, the 127 folding pocket-camera (Fig 7), which was

smaller than Kodak’s previous folding pocket-camera, had been on the market for two

years. Amateur Photography was already a past-time and those men that went off to

war to become soldiers took their beloved camera with them. This lead to the war

being documented by those in the field, for their part in history as a personally

reminder and as a souvenir to show family and friends of the epic journey they had

encountered. Aptly named the ‘Soldier’s Kodak’.

Figure 7. Kodak Vest Pocket Camera (1912)

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It is said that if it wasn’t for the amateur photographer, visual evidence of the

Christmas Day (Unofficial) Truce, 1914 would not exist. Soldiers from both sides of

no mans land, of different ages and ranks, can be seen standing next to each other as

guns were laid down for one day whilst they had a game of football. (Fig 8)

Figure 8. Unknown Photographer, Christmas Day Truce (1914)

Other camera manufacturers were also producing. German company Leica, made

themselves known to the camera industry in 1925, having already been known

worldwide for their optics and microscopes, they went on to released the Leica Model

A (or Leica 1) (Fig 9) with its 35 mm format, which is still the most popular film

format to date. Since 1925, Leica have continued to design and create excellent pieces

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of craftsmanship for the amateur to enjoy, even though, most users are Professional

Photographers.

Figure 9. Leica Model A/Leica 1 (1925)

Photographing war was extremely unusual with most Amateurs photographing

subjects much closer to home, such as those around them that had patience to sit for a

portrait, family gatherings or just trips out to the countryside or seaside. The invention

of the 135 mm film canister, in 1934, made things a lot easier for photographers when

it came to handling negatives. Cameras were starting to advance and it wasn’t long

before the Colour Slide Film was introduced, with Kodachrome 64 and Agfacolor

Neu being the first, films by Kodak and Agfacolor respectively.

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Brought to the market in 1936, Slide Film opened the door for images to be projected

to a much bigger image than the transparency, without losing punch or sharpness.

Amateurs were now able to hold slide shows showing others their works instead of

passing round postcard size images.

Due to its beautiful colours, in 1948 Kodachrome had a National State Park named

after it. Kodachrome Basin State Park, Utah is home to 67 monolithic stone spires,

known as sedimentary pipes, tall, multihued sandstorm layers reveal 180 million years

of geologic time. The colour displayed inspired a National Geographic Society

expedition to name the area Kodachrome Basin - after comparing the depth of colour

held in the landscape to that of the colour achievable in Kodachrome. (Fig 10)

Figure 10. Unknown Photographer, Kodachrome National State Park (2005)

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Things changed within the camera industry again, when in 1949 another German

company, Contax, released the first Single Lens Reflex (SLR) Camera, the Contax S

(Fig 11), with a pentaprism that allowed the photographer to view his/hers subject the

correct way round, as apposed to the wrong way round like with previous camera

technologies, and whilst at the same time introducing the M42 Lens Mount.

This was a great benefit to the Amateur as what was seen through the viewfinder was

replicated on to the film, once the shutter was fired the mirror then rise up to the

prism, the shutter curtain would retract allowing the timed amount of light to expose

the film, thus creating an image. Interchangeable lenses with different focal length

were also available, this enabled one to go out and photograph different genres;

Landscapes, portraiture and low-light conditions. The Amateur could now become a

more advanced photographer.

Figure 11. Contax S. First SLR Camera (1949)

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Over the next 50 year, the 35 mm SLR remained the Amateur choice of format to

learn on, with big names such as Pentax, Nikon, Canon and Olympus all trying to out

smart each other with their latest cameras, displaying an ever so slight shift towards

digital, which in turn, the modern day Amateur has turned to.

The Amateur Photographer Magazine launched its first issue 10th October 1884

(Figures 12 & 13), since then, the weekly publication has helped many keen amateurs

and entry-level photographers with tips and tutorials. Over the years technology has

changed photography dramatically, as the procedure would have been ‘what is the

best film or chemicals to buy for the home darkroom’ – it is now ‘what is the best

editing software I can get for the right amount of money on a budget’ – because that

was supposed to be the point of Amateur, photography starting as a hobby, an

expensive one at that.

Amateur Photographer as well as other photographic magazines such as the British

Journal of Photography (Est. 1854, first title the Liverpool Photographic Journal) and

Practical Photography (Est. 1959) had to move with the changes in technology and

produce publications that are still informative to their audiences, essentially, before

hardback books, manuals and the evolution of the Internet, this was the only way of

knowing what was happening in the industry. They mainly covered everything from

cameras to studio lighting equipment to darkroom materials and shooting tips.

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Figure 12. Amateur Photographer Magazine Cover (1884)

Figure 13. Amateur Photographer Magazine Rear Cover (1884)

There was more to learn too in a sense, one could make a note of the camera settings

for each shot and then after processing, evaluate the results from the roll by pairing up

the exposures with which they were taken. If a shot was over exposed or under

exposed, referring back to ones notes would enable one to revisit, confidently,

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knowing what the correct exposure should now be. Also, if the conditions were not

similar to when the original image was taken then the amateur could refer to his/her

notes and adjust the exposure for present conditions. This is only to achieve the

correct exposure for the negative. The printing had yet to come once a well exposed

negative had been captured.

Once this had occurred, it was then a secondary test of knowledge to produce a well

exposed print that didn’t need much attention by the means of ‘Dodging and

Burning’. With Dodging and Burning one would ‘shade’ a certain area of the light-

sensitive paper with something that didn’t allow light to pass through (such as 5mm

mount board), this is so the area that has had the correct amount of light already will

cease to be exposed even more, leaving the rest of the light-sensitive paper that isn’t

under shade to take in more information from the negative. This is where the action

‘Burning’ comes from, to ‘Burn’ more of the image on to the paper. This was more or

less the only editing you could achieve in the darkroom.

The ‘home’ darkroom was generally the bathroom, attic or under the stairs (Figures

14 & 15). Anywhere pure darkness could be secured with enough room for

developing trays. Running water was not necessary as washing the print could be

achieved in daylight, and since it was mainly Black and White materials, a red/amber

light (safe light) could be shone for visibility, which also helped at the developing

stage. For those aspiring to photographic craftsmanship, darkroom work teaches

valuable lessons. It is important to possess procedural discipline. Darkroom

procedures follow rules of recipe with precise measures that need to be carried out in

the proper order, with chemicals at the correct temperature and in a consistent fashion.

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Without discipline, consistent, repeatable results can’t be achieved. This especially

important when it comes to reprinting, as the notes written of the procedures and

various parameters used can be replicated. Following guidelines allows mass printing.

Figure 14. Phil Plu, Home Darkroom (2011)

Figure 15. Unknown Photographer (Unkown)

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In a recent online edition Amateur Photographer the cover and the insert are all about

what DSLR to buy, what editing software would suit you best, digital camera reviews.

This weeks poll – do you prefer shooting JPEG or RAW?

What has happened? Are people forgetting were the DSLR came from or have they

just never been introduced?

Is there an actual skill to it or is it all about self-perception? There’s having an

understanding of a computer and how editing software works but to manipulate a

negative or a digital file so that it is a true representation of reality is down to oneself

and the equipment at hand.

If 10 photographers from 10 different countries were to be each given a well exposed

negative there can be only one result – a perfectly exposed print. This is because once

in the darkroom, the boundaries are quite narrow in the traditional sense. The end

result in any photographic action is to replicate what was seen through from the mind

through to the print, with no need for it to be of any different standard other than

perfection. Given, each photographer may have used different apertures on the

enlarging lens, thus, shortening /lengthening the exposure time but the results would

be very similar.

If 10 photographers from 10 different countries were to be given a digital file

containing a perfectly exposed image of high resolution in a RAW format, the results

would not necessarily be the same. This is where one can lose sight of reality by over

manipulating the image. With editing software little more than levels, curve or

contrast should be adjusted to replicate what would have been seen through the

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camera lens. With all the adjustments that can be made to a RAW file reality becomes

untrue. The creation of a digital print takes on another roll and becomes digital art.

Take the same photographers that printed from a negative, and give them the RAW

file, the results would be very similar to each others again. This would be due to them

having the skill in the darkroom to be able to produce a photograph with just light

(and chemicals), and not ‘undo’, save and readdress it or start a fresh without being

costly. One had to be precise which gave one an understanding of the full process.

Camera Clubs are extremely important for the Amateur Photographer. Mainly held

weekly, with monthly and annual competitions these clubs offer knowledge to

members that are not advanced in areas which maybe new to them. The traditional

ways of working within these clubs seems to have been replaced by digital

technology, with some members embracing this move and regarding it as progress

others find it hard to adapt. Not surprising considering most members are well over

50. This is where the younger members hold talks and run workshops so other

members can gain an understanding of how to work a computer, hands-on for the

technically shy. Each club is generally local with the meetings being held in Town

Halls, Community Centres and Working Men’s Clubs, anywhere a gathering can be

held to chat about photography, discuss new methods and reflect on each others work,

allowing others to benefit. A small fee may apply for members and a little extra for

non-members but everyone is welcome to turn up and join in, whether they are at an

entry level or have experience in photography. If interests are beyond passionate, the

next step would be to go on and study photography at an academic level as Camera

Clubs can not give out degrees. The lack of young people attending reflects the shift

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in technology from analogue to digital, then digital to mobile phone photography. Are

they losing the essence of holding a film or digital camera, the tactile feel of holding a

camera and looking through the viewfinder, and what it can do is something that can

not be replicated with a mobile phone. As the younger generation may think – who

needs a camera?

External exhibitions are held annually. Burnley Camera Club, like to hold theirs in the

Museum within Towneley Hall, Burnley, Lancashire. A beautiful 13th Century home

built for the Towneley family. This is a main event in their syllabus and gives all

levels a chance to exhibit their favourite images from over the year. As it is open to

the public there is a ‘Peoples Choice’ Award, with this year’s winner being Sar

Hooton. (Fig 16)

Figure 16. Sar Hooton, 10 Boats Mourd (2016)

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The image, and that is what it is, an image not a photograph has an obvious falseness

about it where extreme editing has been applied. This style of imagery should not be

encouraged let alone awarded ‘Peoples Choice’ in a photography competition. The

word photograph should not even apply when editing has been taken too far from

reality in such a way as to portray a different world in a completely unreal universe.

What does this say about the people that voted? They have no concept of the real

world? They live in such a place the escapism is the answer? That they are incapable

of reproducing such an image, so with that decide it to be of a higher standard of that

of a normal picture that ‘anyone can take’? Or is it classed as art because of its

surrealism? All questions fall on the artist’s vision, but as a viewer the knowledge of

the artist is very rarely exposed leaving it to be interpreted as wished. Out of the 110

images exhibited, not one has the aesthetics of an image straight from the camera.

Although it is deemed old fashioned amongst members of Camera Club to use

Traditional methods, it shows that since digital has advanced and software more

manageable there is nothing that determines what is actually a straight photograph, or

an image which has been manipulated too far to the extent it could be illustrative of

reality. Revisiting traditional methods could only be a positive move as standards

would return, which in turn could have an impact on the growth of the clubs.

The biggest competition that Camera Clubs have in the modern world is the Internet.

Social media alone could be responsible enough for their demise. With informative

pages, groups and forums covering ALL aspects of photography and digital

photography it is a Camera Club on its own. The only thing it can not do is offer

hands-on experience whilst socialising in a room with like minded folk.

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Chapter 3 – The Digital Era Commences

The first image scanner ever developed was a drum scanner. It was built in 1957 at

the US National Bureau of Standards by a team led by Russell Kirsch. The first image

ever scanned on this machine was a 5 cm square photograph of Kirsch’s then-three-

month-old son, Walden. The black and white image had a resolution of 176 pixels on

a side. Technically, this is the very first digital photograph – all these years later, in

the scale of Photography, Digital Photography is still in its adolescence stage.

Figure 17. Unknown Photographer, Russell and Walden Kirsch (1957)

Above (Fig 17) is the original photograph taken of Russell and Walden Kirsch, from

which the scan was to be taken from. One could say that this is a second generation

Hybrid Image. Instead of it being from the original source (the negative), it’s taken

from a print produced from the negative.

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Figure 18. Scan of Walden Kirsch (1957)

Figure 19. Diagram of Drum Scanner (1957)

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The result of the scan was successful (Fig 18) although high in contrast and grainy

there is still an image. Arguably as it was from a print and not the negative, the grain

is already intensified, therefore this grain could be replicated on the final scan. As the

diagram shows (Fig 19) for an image to be produced there has to be means of light

and optics, behind the optics, the light that is received via a digital pulse records the

image by transmitting it through wires to a circuit board. A big breakthrough and is

regarded so important in the development of digital photography that in 2003 Life

Magazine honoured Kirsch by naming his grainy black and white scan as one of the

“100 Photographs That Changed the World”.

The very first concept for a digital camera can be linked back to the Cold War, where

in the 1960’s American and Russian politicians realised that if they could send a

satellite into space with a camera onboard they could spy on the enemy.

It was at NASA’s Jet Propulsion Laboratory, in Pasadena, Calif where engineer

Eugene Lally investigated ways of using mosaic photo-sensors to digitize light signals

that could then be used to capture still images.

The idea was that a single image would be extracted from a video camera reel, then

‘beamed’ back down to earth via an electronic signal where it was decoded and

displayed as a still image with the aid of a processor. Similar with the scan on of

Walden

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On August 23rd 1966 NASA’s spacecraft the Lunar Orbiter 1 transmitted a still image

back down to earth which was received at the NASA tracking station at Robledo De

Chavela, Spain (Fig 20)

Figure 20. NASA, First Photograph of Earth from Moon (1966)

In 1975 a brake through in the technology of digital photography was achieved when

the exploits of the digital camera in space lead Steven Sasson, an engineer at Kodak

Eastman to take a CCD (charged-coupled device) chip and adapted it behind the lens

of a Super 8mm Cine Camera. The huge and cumbersome design weighed 8lb. As

there wasn’t really any terminology for this new technological device, to take a

picture it was said that one would “grab” a picture (as with film the traditional

terminology is to “capture” the image). After it was “grabbed” it was read out at about

50 milliseconds, digitized then temporarily stored on a memory card. Dimensions of

the image were 100x100 pixels (0.01 megapixel), the black and white image would

then be recorded on to a digital cassette tape through which it took 23 seconds to

process. This was now permanently stored. (Fig 21)

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“This was more than just a camera. It was a photographic system to demonstrate the idea of an all-electronic camera that didn’t use film and didn’t use paper, and no consumables at all in the capturing and display of still photographic images.” (Sasson, 2015: Online)

Figure 21. Unknown Photographer, Steven Sasson’s Digital Camera (1975)

Once recorded onto a digital tape it enabled one to view the image on a television set

by being processed though a Micro Computer (Fig 22)

Figure 22. Unknown Photographer, Micro-Computer (1975)

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Another race had started for camera and electronic companies. In 1981, Sony, at that

time were known mainly for producing Hi-Fi’s and Video Cameras, introduced a

prototype to their first ever still video camera, the Mavica (Magnetic Video Camera).

Although this wasn’t a digital camera it can be seen as the predecessor to the digital

take-off. Throughout the decade various manufacturers produced still video cameras

but in 1988, Fuji, marketed their all-digital camera for the consumer, the DS-1P. Both

cameras recorded the image on to Floppy Disk – this meant that the photographer

could fill a floppy disk with images (around 25/30 images each time) and then load an

empty floppy straight in, ready to record more.

The word pixel originates from picture-element, first published in 1965 by Fred C.

Billingsley of JPL ton describe the picture elements taken from a video images from

space probes to the Moon and Mars.

These are electronic companies that make hardware from kettles to audio equipment.

These companies are taking over the market in cameras but not making them good

enough because they are not concentrating on one product – whereas Leica, Contax,

Rollei and Nikon all produce high end quality lens based products, because of this

they will remain more of a Photographers choice of manufacturer.

When scouring the market place for a camera, most consumers will want digital.

Why? Because of the ease. Is the device appealing to a generation that has become

lazy? Their simple operations enable the consumer to become dependant of what is

displayed in front of them, they all do the same thing but the designs are slightly

different, which the manufacturers keep to their own style. This could be because

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once a manufacturer has the consumer buying their product, the consumer will most

likely stay ‘faithful’ by buying the model that succeeds the one they already have.

It is all linked in, what we look at on-line dictates what adverts are placed in front of

us as if everyone is a consumer. Scroll down social media after looking at camera

sales and there are adverts appear bragging about Interest Free Credit for 12 month on

DSLR cameras – £3,955.00 for the latest Canon 5D IV.

In 2010 121.5 million Digital Cameras were shipped worldwide as appose to an

estimated 13 million that were shipped in the first half of 2016 (January to July) – as

it states ‘cameras with built in lenses’ compared with ‘cameras with interchangeable

lens’. This is not just a representation of mobile phones alone, with in the category of

‘cameras with built in lenses’ would be Compact Cameras and Bridge Cameras. (Fig

23)

“The soon-to-be-released iPhone 7 Plus has two camera lenses, bringing its capabilities even closer to those of sophisticated SLR cameras. As our chart illustrates, the camera industry could be in serious trouble as a consequence. In 2015, CIPA members shipped 35.4 million digital cameras, down more than 70 percent from peak sales in 2010 – the year that Instagram was launched.” (Richter, 2016: Online)

First the revolution of digital photography had a massive impact on analogue

photography, and now, over a decade later we are going through the same cycle. Not

on the origins of the image of one process being replace with another in a shift of

technology but how we use the device. Some would find it difficult to use the word

camera when they are actually phones. There are no view finders or bayonets, nor are

31

they thick and weighty. A Smartphone can be carried around with easy but yet a Twin

Lens Reflex (TLR) or Single Lens Reflex is much harder to fit in a pocket. So that’s

an advantage. What is the eventual pleasure?

In a recent article from the Business Insider UK (September 2016) about the new

Huawei Mate 9 Smartphone it boasts that the camera is fitted with a dual-lens

designed in collaboration with Leica that can capture 20 megapixels in monochrome

and 12 megapixels when using the colour sensor. Not only that but onboard it has a

64GB storage capacity with a Micro SD slot – enabling it to reach up to 256GB.

Figure 23. Statista, Worldwide Digital Camera Shipment (2016)

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Chapter 4 – Image Sharing.

Photo sharing was once a long process, although some would argue more of a

satisfying one, but with today’s technology a photo can be share as it is being taken.

The dangers of uploading photographs to the Internet can be quite common. If one

uploads a photograph it can be downloaded by those who desire to and then

manipulated with ease to portray a different narrative to the intending audience. As

though to create a fantasy profile. Any site where there’s a users profile there’s

generally a profile picture on display. Facebook, Youtube, Snapchat, Twitter,

Instagram, but, who’s to say if the person(s) on the profile picture is the account

holder? Social media and dating websites for example – having a fake profile can lead

other users into thinking that they are having a conversation with the person in the

photograph when in fact an image has been downloaded illegally and saved to a

device to be wrongly used, extreme cases this can be fatal for the lured.

An example of this is in an article by the Guardian, in which a sex offender used a

fake account on Facebook in order to converse with young women, sadly taking the

life of a 17 year old girl. Outside court after the verdict was read out, Detective

Inspector Mick Callan, head of Durham police’s major crime team, said:

"The truth is he is a predatory sex offender who, through the tentacles of the internet, could reach out to the young and the vulnerable.

"He knows full well that using his real name and picture would not grab the attention of any young woman for a moment. But by using the picture of a good-looking young man as a cover he has woven a web of attraction and deceit that has sadly had a murderous ending." (Callan, 2010: Online)

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One of the benefits of being able to share photographs on social media is that they can

be seen by friends and family in different parts of the country or those who have

emigrated overseas. Another is that it is free.

In today’s world all you have to do when you take a picture on your phone is choose

how you want the world to see it. With platforms such as Instagram, Flickr, Facebook

and Twitter, people from all over the world can see what is for lunch.

Mobile phone devices have the capability to share, Bluetooth and Inferred being the

most popular way and most Photo Apps allow the device to connect wirelessly.

Being able to attach photographs with in an email is quite important when it comes to

business and legal matters. The advantage is that the date and time are logged and can

be used in reference when there is a disagreement and in a court of law.

Polaroid – share by giving the photo to the subject – on a professional level to get the

correct exposure before attaching the film back.

When uploading photos to the Internet it is extremely important to IPTC

(International Press Telecommunications Council) your image(s) – the details given

are attached to the file and will remain with the image until to give identity to the

photographer. This resolves copyright issues and also credit can be given, as well

payment to the photographer.

It can be seen that the majority of the pictures posted on social media are mainly taken

with the device that is capable of uploading straight away or one that has an

removable digital media (ie. Micro SD/Compact Flash/Sony Duo Memory Stick). The

34

picture portrays modern times, one can tell this with the present fashion, the look and

feel of the surroundings within the content that is displayed.

The same can apply for photographs taken pre-digital. Tthere’s a certain feel to the

content of the image, like grain for one. This can only be achieved by shooting on a

more sensitive film with an ASA of 400, 800, 1600 but more so 3200, rather than a

‘finer’ film such as a 25 or a 50 ASA. The surroundings look like they’re from the

past even down to the road signs, telegraph poles, adverts in shop windows and other

objects with recognisable change.

As it is important to preserve history, digitizing imagery that can no longer be

reproduced by its original processing procedure is a must in order to project them to

the social media platform. Scanning an original print from decades gone by and

posting them to social media can trigger someone’s memory back to the day it was

taken. Scanners allow the past to be present.

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Chapter 5 – Capture versus Post-production

When capturing a photograph using analogue equipment there is only so much can be

achieved in post-production that dramatically changes the initial, intended result.

However, pre-production can make a difference to how the final image are presented,

for example, there are filters such as Cokin Filters, which sit in a designated holder

that slips on to an adaptor ring that screws onto the lens thread. (Fig) .Or there are

filters that just screw straight onto the lens like, Hoya.

Figure 24. Unknown Photographer, Cokin FilterSystem (2009)

Not used as much now with editing software being part of the process, the Cokin

FilterSystem is more for the creative photographer. A wide range of filters that give

different effects are still available, ranging from contrast and neutral density to

graduated filters, but technology seems to be making them redundant.

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The only other way to create a specialist kind of look in the pre production stage

would be to choose a film which would portray this in someway. Ilford manufactured

films such as SFX which is of inferred base and using a red filter enhances its

characteristics and XP2 which is black and white based developed for C41 colour

processing. When shooting on film one had to bare in mind that you could only shoot

what you could afford, the more films shot the more processing costs would occur, the

amount shot also depended on how many rolls of film you had with you, 12, 24 or 36

exposure, this would slow the thought-process down to maximise film usage enabling

each frame to be of a different subject or location than the last. This affects the way in

one shoots and trains the eye and mind into seeing and eventually the photograph

would be seen before taking the camera out.

So, with this in mind it’s easy to see that digital photography has made it simpler for

the modern day photographer to go out and capture what he/she requires, knowing

that even though condition may not be right, a near perfect image can be achieved in

post-production. As digital photographers claim “why shoot film when I can get the

same results with digital?” This is not true. As you take a photograph with any

analogue camera, the final result depends on the knowledge of the photographer to

allow the right amount of light to pass through the lens and on to the film. At this

stage, if the amount of light that travels through the lens is either too sufficient or

insufficient then the result would be over or underexposed and would lead to the

failure of a correctly exposed negative. The same results can not be achieved with

digital as it can with film, as when shooting in RAW this allows the taker room for

error. One does not have to possess the knowledge required to execute a perfectly

37

exposed negative if the digital file can be manipulated in such a way as to replicate

this by means of editing software.

Fashion Photography along with Advertising Photography can be seen as the biggest

uses of post-production. Pre digital had a sense of belief, what was in the photograph

was the truth, unless, the client was a commercial giant, in which case they had their

own in-house post-production team with the very best technology available at the time

and add their own input to what was eventually seen by the viewer.

Take David LaChapelle for example, for his surreal, colourful, iconic fashion imagery

of celebrities. A photographer from an era where digital was starting to happen,

computer manipulation in photography was new with a number of photographers

gracing it such as Nick Knight and Jean-Paul Goude.

LaChapelle, shot on transparency film through the 1980’s and early 1990’s, lighting

everything simultaneously regardless of how big the shot was. No post editing was

necessary due to the exposure being how he imagined it as he looked through the

viewfinder, but had little control once it had gone to the publishers. However, in

today’s digital age, and a man of his mind and eye, he is regarded as one of the best of

the genre of Surreal Images (Fig 25). Not that his ideas of how he would photograph

his subject(s) have changed, or his way of working behind the camera, it’s more so

the manipulation he can achieve on the final image, the control behind the publisher.

38

''It's going to completely alter how we approach photography in the future.'' (Knight, 1997: Online)

Figure 25. David LaChapelle, American Jesus: The Beatification: I'll never let you part for you're always in my heart (2010)

39

Richard Avedon, creatively photographed celebrities in the same monochrome style,

whilst portraying the personality and beauty of his subject(s) within each image, by

reflecting his own personality upon them. Working for High Class publications and

big name brands, Avedon photographed Margelle Agnelli when he 30, in 1953. It is

said that in the darkroom he manipulated the negative so that the neck of Agnelli was

more elongated than normal (Fig 26). As an art, this could be seen as early darkroom

manipulation with it being rather advanced.

Figure 26. Richard Avedon, Marella Agnelli (1953)

By the time digital cameras were released the truth was unknown, because the truth

had been lost through lack of trust.

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Chapter 6 – The Influx of the Photographers on Social Media

In previous decades, establishing oneself as a Photographer could be quite difficult,

reaching out to the general public meant generally one would have limited options on

how to gain exposure. Through the back of photography magazines, newspaper ads

and local shop windows were the traditional ways to advertise, with word-of-mouth

always being accepted. More importantly, knowledge on how to use a camera and

about light/shadows, composition and the relationship between shutter speeds and the

aperture, was the key to success. This produced enough confidence to be hired with

results to prove that working independently and to a certain standard.

Achieving this in the present world is a much simpler task. One does not even need an

expensive DSLR camera as some platforms are just solely designed for Smartphones

and iPhones such as Instagram, Pinterest, Twitter and Best Camera. But having the

right equipment certainly helps when it come to learning the craftsmanship of

photographer.

One can just pick a camera up that automatically decides what settings are needed at

the time of the shutter being pressed, with all selecting the ISO (International

Standard Organisation) which allows the camera’s sensor to perform differently

depending on the lighting conditions. Purchase some editing software or an app and

upload to the internet.

41

With film it was ASA (American Standards Association) the number indicating the

ASA rating represented the film speed which determined how fine the film was,

creating more or less grain depending if the ASA number given was high or low. The

same principle applies with the ISO numbers on digital cameras but instead of grain it

produces noise, this is due to it being a digital sensor rather that a light sensitive

material which works in pixels (Picture Elements).

This leads to bad photography with such things being visible in their work, bad

exposures, vertical and horizontal lines not parallel and images being over

manipulated in post production.

Too many photographs are uploaded for all to see, although some maybe good the

majority are just photographs to fill the gaps of the creativity that is missing. The

photographer that posts on social media hasn’t become critical enough of their own

work and instead hastily posts work for an instant reaction from the viewer. But, nice

comments like ‘nice lighting’, ‘lovely shot’, ‘love this’ and ‘I’ve been there’ don’t

really help the photographer in being critical. It’s only fuel for more bad imagery.

Poorly chosen business names such as Love Story photography, Memory Factory,

Small Adventures all just suggest cheesy images of weddings, portraits of children

and over editing landscapes. Most appear as though the parent is testing a new camera

out and the only model(s) available are their children. To which there is nothing

wrong with taking photographs of those close to ones heart, but when advertising

yourself as a photographer the standard and quality of the images that are uploaded

42

have to be that the very highest. Remembering that the images displayed online are

the only representations of what style of photography capable of achieving. It is also

evident that one does not possess the right amount of knowledge in the field of

photography, if exposure and compositions are incorrect.

Below is a complete guide on how not to take photographs, if advertising for business

as a photographer. Also, when describing the album which you have title ‘Boudoir’ it

is not very appropriate to have the heading - ‘Think less lad mags/more glamourous’.

Note the word glamorous. When writing information in the ‘about’ section, make sure

it does not read in an unprofessional manner such as this example from Pix

Photography’s page on Facebook.

“Pix Photography is an established company based at Waterloo in Huddersfield. The main photographer is Gary and he is sometimes assisted by his wife Jane.Pix is no longer taking on paid work, but may undertake some projects for free if we feel they are interesting.

MODELS:-

PIX PHOTOGRAPHY has huge experience in creating portfolios for new models and improving existing model portfolios.I have now closed the Pix Photography studio as I felt that my creativity was being restricted by financial cost of owning my own studio. I was kept busy with family type shoots which covered the overheads, but were like a production line. I have chosen to work mainly on location shoots, but I still have portable studio setups so I can set up almost anywhere if required.I may work for FREE if you have creative ideas, but I have limited times so please do not be offended if I turn you down.I get lots of new models hoping I will work with them for free just because they will get their boobs out. Sorry but it takes a bit more imagination that that :) - The wackier your ideas the more chance of me wanting to work with you.If your model portfolio requirements are more basic, I will still work with you for a very low fee. Ask for details.Always interested in hearing from makeup artists.”

As we can see from the text, it always pays to be professional.

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Conclusion

Not just anyone can become a photographer, most people can become camera

operators but to make photography an income it takes time and effort when it comes

to learning the right skills and knowledge of the craft. It will be interesting to look

back on to in a couple of decades to see where we are with technology and how far

digital photography has expanded. Software will change to adapt to the ever growing

need of the consumer, with the same reaction for the digital camera but more

importantly, Smartphone. We are currently on the iPhone 7 with its duel lens, for

ultimate Bokeh (in analogue terms D.O.F – Depth of Field). This is where the

Smartphone is trying to compete with a camera.

Luckily, analogue is on its way back. This is due to the fact that millennial’s are now

finding this media to be of a new one to them. Being brought up in a digital world can

only reflect

The medium of digital has its pluses. Take for example wedding photography, pre

digital meant loading and unloading film which sometimes resulted in ‘the shot’ being

missed or overlooked. The same can apply with sports photography, but in this day

and age the camera can be linked up to the photo editor’s computer back in the office

via WiFi, so as soon as the picture is taken it can be posted online to a live feed

featuring the match, in this case of football. Almost like commentary.

It also has its minuses such as a corrupt memory card or an error with in the camera

that can not be fixed manually, as the all rely heavily on battery power and circuit

44

boards. The cameras are in-cased in plastic and lack the feel of a traditional camera,

even though manufacturers strive to match those designs which for years have suited

the photographer whose aim is to record their part in history and produce beautiful

imagery for centuries to come.

The darkroom will never cease to educate people on the importance of printing

photographs off, whilst at the same time teaching the understanding what happens

when a negative is projected on to light sensitive paper. Creating a hands on approach

rather than being sat, editing poorly exposed images for long periods of time, starring

at a computer monitor.

Film formats that, under a decade ago were thought to have been obsolete have made

a come back on to the market – Polaroid being the biggest hit with millions of

cameras becoming redundant, and now being revived thanks to instant film makers,

Impossible, those cameras are seeing the light of day once more.

I suppose the irony is in the name.

Hail Film!

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List of Illustrations

List of Illustrations

Fig 1. Shore, S, (1966) UntitledAvailable from: http://www.edition.cnn.com/2016/11/08/arts/andy-warhol-factory-stephen-shore/Accessed 11.10.16

Fig 2. Shore, S, (1966) UntitledAvailable from: http://www.edition.cnn.com/2016/11/08/arts/andy-warhol-factory-stephen-shore/Accessed 11.10.16

Fig 3. Shore, S, (1974) West Fifteenth Street and Vine Street, Cincinnati, Ohio.Available from: www.stephenshore.net/photographs/six/index.php?page=5&menu=photographsAccessed 18.12.16

Fig 4. Shore, S, (1977) Perrine, FloridaAvailable from: http://stephenshore.net/photographs/six/index.php?page=19&menu=photographsAccessed 18.12.16

Fig 5. Jarvis, C, (2013) UntitledAvailable from: http://www.geekwire.com/2013/chase-jarvis-mobile-photo/Accessed 22.10.16

Fig 6. Kodak Folding Camera No 1 (1898)Available from:http://www.redbellows.co.uk/CameraCollection/Kodak/FoldingPocketKodak_gen.htmAccessed 8.12.16

Fig 7. Kodak Vest Pocket Camera (1912)Available from: www.camarasclassicas.blogspot.co.uk/2010/08/vest-pocket-kodak-autographic.htmlAccessed 8.12.16

Fig 8. Christmas Day Truce (1914)Available from: http://www.iwm.org.uk/history/podcasts/voices-of-the-first-world-war/podcast-9-the-christmas-truceAccessed 15.12.16

Fig 9. Leica Model A/Leica 1 (1925)Available from: www.cameraplex.com/leicas-early-years-little-negatives-big-pictures/Accessed 27.11.16

49

Fig 10. Kodachrome National State Park (2005)Available from:www.commons.wikimedia.org/wiki/File:Kodachrome_Basin_State_Park.jpgAccessed 14.10.16

Fig 11. Contax S. First SLR Camera (1949)Available from: http://www.earlyphotography.co.uk/site/entry_C285.htmlAccessed 25.11.16

Fig 12. Amateur Photographer Magazine CoverAvailable from: http://mentalfloss.com/uk/design/27464/what-15-long-running-uk-magazines-had-on-their-first-coverAccessed 30.11.16

Fig 13. Amateur Photographer Magazine Rear Cover (1884)Available from: www.mentalfloss.com/uk/design/27464/what-15-long-running-uk-magazines-had-on-their-first-coverAccessed 30.11.16

Fig 14. Plu, P, (2011)Available from: www.philplu.blogspot.co.ukAccessed 5.12.16

Fig 15. Unknown (Unknown)Available from: https://s-media-cache-ak0.pinimg.com/236x/2f/0a/cf/2f0acfe960ac5311b8b56affce07d73c.jpgAccessed 12.11.16

Fig 16. Hooton, S, (2016)Available from: http://camera-club.net/Accessed 27.11.16

Fig 17. Unknown, Russell Kirsch (1957)Available from: http://www.mercurynews.com/2009/10/15/cassidy-first-digital-image-changed-lives-including-that-babys/Accessed 11.12.16

Fig 18. Unknown, Walden Kirsch (1957) [Scan from print]Available from: http://www.computerhistory.org/timeline/1957/Accessed 14.12.16

50

Fig 19. Unknown, Drum Scanner Diagram (1957)Available from: http://www.digicammuseum.com/images/history/drum.jpgAccessed 13.12.16

Fig 20. Nasa, The First Photograph of Earth from Moon (1966) [Video Still]Available from: www.petapixel.com/2015/05/23/20-first-photos-from-the-history-of-photography/Accessed 8.10.16

Fig 21. Unknown, Steven Sasson’s Digital Camera (1975)Available from: www.lensgarden.com/discover/the-inventor-of-the-digital-camera/Accessed 27.10.16

Fig 22. Unknown, Mirco-Computer (1975)Available from: http://petapixel.com/2010/08/05/the-worlds-first-digital-camera-by-kodak-and-steve-sasson/Accessed 27.10.16

Fig 23. Statista, CIPA Worldwide Digital Camera Shipments (2016)Available from: www.statista.com/chart/5782/digital-camera-shipments/Accessed 30.11.16

Fig 24. Unknown, Cokin Filter System (2009)Available from: http://www.juskuz.com/2009/10/31/cokin-filter-system-review/Accessed 28.12.16

Fig 25. LaChapelle, D, American Jesus: The Beatification: I'll never let you part for you're always in my heart (2010)Available from: http://www.artnet.com/magazineus/reviews/kley/david-lachapelle-michael-jackson9-14-10_detail.asp?picnum=1Accessed 4.1.17

Fig 26. Avendon, R, Marella Agnelli (1953)Available from: https://leclownlyrique.files.wordpress.com/2013/11/marella-agnelli-1959-avedon.jpgAccessed 4.1.17

51