Sep
2018
Assignment 2- Review
Name: Bianca Barichello, s3540013 (words; 1200)
The prompt: How do the affordances of Instagram affect the way photos and videos are authored, published and distributed in the network?
I declare that in submitting all work for this assessment I have read, understood and agree to the content and expectations of the assessment declaration –https://www.rmit.edu.au/students/support-and-facilities/student-support/equitable-learning-services
Blog Posts:
1. Provide your own definition (in your own words) on ‘photography’ in relation to legacy and online media, by referring to the readings, additional research and the practice analyses completed in your blog:
In my own words, a photograph is an image that is recorded, that the human eye can perceive. It allows us to capture important life moments in which we experience, that enables the memory to last a lifetime. Photography can be accounted for in a extensive amount of ways. According to Wells, “Our ways of viewing images will be changed because we observe the world from unfamiliar viewpoints. Photography validated our experience of ‘being there’, capturing the authentic experience of a strange place.” (Wells, 2015)
Photographs are records and documents which pin down the changing world of appearance. Since the early stages of the development of photography, this practise was something that professionals did to document and capture important experiences. However, as the world has advanced, each individual has employed the ability to take photographs, edit and publish them to relevant platforms of their choice. Photography has become readily available and accessible to everyone as an essential part of our daily lives (Zylinska, 2016) Considering that even our phones can take photos of such high quality resolution, it is it’s easier than ever to share your work, find the like-minded people and attract and maintain an audience.
2. Provide your own definition (in your own words) on ‘video practice’ in relation to legacy and online media, by referring to the readings, additional research and the practice analyses completed in your blog:
In my own words, video practice, is the art of technology moving images on photosensitive surfaces, and its digital counterpart. Also involving the art and process of shooting videos in a way that elicits a desired effect on the viewer. Videography is also often a social and cultural practice, video’s immediately captured the attention of artists who saw its potential as a creative tool. “Social activists who saw it as “a weapon and a witness to be used to create new types of representations that opposed the ubiquitous commercialism of the television industry”‘ (Horsefield, 2006 )
in Horsefield’s article it is spoken about in the Early years section that to artists in specific the video camera was a ‘handy and low-cost tool to document live performances’ (Horsefield, 2006, p4) or it was used to document ‘direct-from-the-scene reportage that was not manipulated’(Horsefield, 2006, p3). In terms of the legacy era, artists were the ones who mainly had their hands on a video camera being part of the art world, it was very unlikely for anyone else to have had their hands on a scarce video camera. During the initial stages of television, artists started to gradually incorporate editing softwares into their film process making. This can be reflected in Nam June Paik’s work, his legacy video practice had a major influence in television technology in the era of the late 70’s to the 80’s.(Eai.org, 2018). To create a video, this unique publisher had to use a video camera and a video projection that was installed in the television. Followed by also having to go through the editing process of the video to change the images or the soundtracks, this took countless amounts of hours due to the exuberant, hyperbolic pace and rhythm of his energetic videos produced, mainly ‘lake placid’. In comparison to today’s digital age most individuals are fortunate enough, to own their own smartphone which features a built in video camera. Enabling them to conveniently and simply take videos and utilise various functions. In today’s generation videography is used quite frequently as a communication tool. For mainly Videobloggers to upload content on youtube, Facebook or Instagram as mass media continues to evolve and grow. Having this accessibility has created a community for ‘video bloggers’ as discussed in Trine Bjorkmann Berry’s text. (Berry,2018)
3. What differences and similarities did you discover between the way legacy and online photos are authored, published and distributed?
Through out the past few weeks, in class we have focused on both topics of both legacy and online photographs. The main difference, being the focus on two different generations. With different technology and functions being available at the time of production, the capabilities which allowed certain processes to be simplified or enhanced dependent on the technological capacity.
Legacy photos were frequently published and distributed through printed media, such as newspapers, magazines and booklets as well as being showcased in exhibitions if they were of significant importance. For example, the legacy photo produced by Dorothea Lange which I analysed for my week 6 blog post, was showcased in a gallery, having the ability of attracting a broad spectrum of viewers. In addition, Lange’s images were small 4×5 negatives developed in purely black and white and obviously no opportunity for editing functions, it’s an authentic, original and un-touched image.
With all the technological advancements and arrival of smartphones and social media this has changed and advanced the way we publish and distribute photos. Bringing me to discuss another clear distinction between the two. The capability we have of editing and modifying an image. The digital age differs from the era of legacy images as “the greater diversity of image manipulation possibilities and the visual effect on the surface of the computer screen when compositing, editing and viewing” (Zylinksa, 2016). Choosing the size of the image, resolution, colour brightness, re touching tools, you name it all these features are readily available to make the photo more visually appealing. “Yet we are all not just photographers today: we have also become distributors, archivists and curators” (Zylinksa, 2016). Eeelco Roos remained a focus for my week 7 blog post with the online photo produced by Eelco Roos, a prominent difference can be seen in the photo quality in contrast to the Dorothea Lange’s image. Roos’ photo wasn’t take on a professional camera, it was captured on an iPhone and edited with the assistance of four programs to enhance the quality and attract the attention of his thousands of followers on Instagram. The legacy photos process to publish and distribute an image takes a lot longer, this is because there were no developments of editing software and customised suites for the image to be manipulated in any form. This can demonstrate that these online photos may carry less meanings than that of legacy photos.
4. What differences and similarities did you discover between the way legacy and online videos are authored, published and distributed?
Through out my research of legacy and online videos, there was an apparent difference between the two. The Nam June Paik and the modern day video produced Rachel Ryll by were both constructed in diverse ways with various software technology.
In order to create the content for a legacy video, it often involved a lengthy and difficult process to create the visual content. As there were no breakthroughs enhancing the quality of technological operations. In contrast, today’s digital era the publisher has readily available editing tools at the tip of their fingers, as well as being a simplified process. (Zylinska, J 2016),The publisher is also able to add special effects to enhance the visual appeal of the video, creating a unique experience for their viewers. Such as Rachel Ryll creative and unique stop motion videos.
The distribution system differs quite significantly between legacy and online videos. With legacy videos main platform of distribution being the television as it was able to gain exposure and reach a wide variety of viewers. Being showcased in galleries was also a common way of publishing content. For example; Name June Paik had a lot of his work at galleries. His ’80’s Lace Placid’ content he produced featured in the National Fine Arts Committee of the 1980 Olympic Winter games. However, in today’s digital era publishers can simply upload their content to Instagram and youtube and are able to gain and attract a wide range of users. Such as Rachel Ryll who I focused on in my week 8 blog post, who has a large follower base of over 1 million and produces all her unique and creative content, sharing it and creating an online community of viewers, who all gain a mutual interest in her work.
Throughout my research I did come across a similarity between both videos, both must understand their audience and create content that would appeal and interest them. The intention may be to prove a point, or to purely entertain their viewers. Both, want to express an idea or make a certain point valid, which they hope to get across to their audience.
References:
Wells, L, 2015, ‘Photography: A Critical Introduction‘, Thinking about photography: debates, historically and now, 5th ed, Routledge, New York. p. 9-2
Horsfield, K 2006, The Video Data Bank Catalog of Video Art and Artist Interviews, 2006
Zylinska, J 2016, ‘Photomediations: An Introduction’, in Kuc, Kamila, and Zylinska (ed.), Photomediations: A Reader. Open Humanities Press, 2016, http://www.openhumanitiespress.org/books/ titles/photomediations
Sherman, Tom, “Vernacular Video.” Video Vortex Reader: Responses to Youtube. Ed. Geert Lovink & Sabine Niederer. Amsterdam: XS4All. 161–68. Print.
Berry 2018, Trine Bjorkmann. ‘Situating Videoblogging’. Videoblogging before YouTube, Institute of Network Cultures, 2018, pp. 9–22, http://networkcultures.org/wp-content/uploads/2018/06/Videoblogging-Before-YouTube-web.pdf.
Eai.org. (2018). Electronic Arts Intermix: Lake Placid ’80, Nam June Paik. [online] Available at: https://www.eai.org/titles/lake-placid-80 [Accessed 15 Sep. 2018].