Saturday, August 13, 2005

Three Perspectives on the 'Digital' in Digital Photography

William A Ewing (2005): "Digitalisation is changing everything to do with photography. It alters the way we—amateurs and professionals alike—take pictures and the way we look at them. It changes how we pose for them, how we edit them, manipulate them, archive them—even the degree to which we are willing to place our trust in them." ("Movers and Fakers" in Guardian Weekend, 13 Aug 2005).

Lev Manovich (1995): "How fundamental is this difference [between digital and "traditional, lens and film based photographs"]? If we limit ourselves by focusing solely, as Mitchell does, on the abstract principles of digital imaging, then the difference between a digital and a photographic image appears enormous. But if we consider concrete digital technologies and their uses, the difference disappears. Digital photography simply does not exist." ("The Paradoxes of Digital Photography" available under "texts" heading on above site. First published in _Photography After Photography_ exhibition catalog, Germany).

Don Slater (1995): "…rather than investigating a specifically media revolution, or focusing on changes in media technology under the impact of the digital, look instead at structures of domestic leisure in relation to family dynamics on the one hand, and new forms of commodification on the other. A framework for considering photography in digital culture might then involve looking not at a specific technological transformation of photography at all, but at the circulation of images within a domestic life structured around these forces of commodification and privitisation: what emerges more and more clearly are convergences of media and communication technologies in the home and on holiday but in the form of consumer leisure and entertainment” (“Domestic Photography and Digital Culture” in (ed) M. Lister _The Photographic Image in Digital Culture_, p. 133).
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