REVIEW
- Provide a definition for ‘analogue photography’.
Analogue photography (AP) is using a camera to capture a still image onto a negative film. To view, publish and distribute AP, it needs to be developed and printed first. The negative film is used to print photos onto light-sensitive paper before being developed and fixed with chemicals.
- Provide a definition for ‘analogue video’.
Analogue video (AV) is using a camera to record moving images which are converted into video signals inside the camera. To be published and distributed these signals are transferred between recording and reproduction equipment, converting image and sound signals into waveforms and transmitted through signals at variable voltage. AV was the first truly audio-visual medium in broadcast media, where images and sound can be played simultaneously on a monitor or television. (Spielmann, 2007, p.1).
- Provide a definition for ‘networked photography’.
Networked photography (NP) is using a camera to capture images using photo sensors and storing the information digitally as numerical data. The photo can then be published and distributed between devices by sharing the photo data, often on online platforms.
- Provide a definition for ‘networked video’.
Networked video (NV) is capturing audio and moving images through a digital camera that stores the content as data. NV can be shared between devices and platforms by transferring digital data.
- Provide definitions for the terms ‘authoring’, ‘publishing’ and ‘distributing’.
Authoring in the context of media is the creative process such as scripting, directing, recording and editing through different techniques and technology. The equipment determines what kind of media you are producing, including content such as photos, videos and sound.
Publishing is the format that media content is stored and reproduced for viewing. For example, in cinema, publishing would be printing the film into a form so it can be screened to an audience.
Distributing is the process of multiple copies of a media form being shared by a wide audience. In cinema, distribution would be multiple prints of a film, so it be screened at different cinemas. In social media such as Instagram, publishing and distributing processes can be seen as parallel with use of hashtags.
- What differences and similarities did you discover between the way analogue and networked photos are authored, published and distributed?
Authored: Analogue photographer Cartier-Bresson and digital photographer Simone Bramante both agree that the creative process of photography is about capturing a composition at a particular time: to capture a moment (Cutler, 2013, p.7). However, with AP you may have limited opportunity to take a photograph, based on the amount of film you have to shoot, whereas NP you can capture multiple images determined by the storage of the device and choose the perfect moment. The devices used between the formats are different, in AP a film camera captures an image onto a negative to be printed with minimal manipulation. In NP an image can be captured using a digital camera (DSLR) or mobile phone which allows for editing using software or even on the device itself. For example, Bramante’s photo was edited using Lightroom and Photoshop (Diallo, 2013, para.9).
Published: An AP must be printed as a photo to be published, although NP has the ability to be printed the processes are different and in the case of NP they are rarely published in this form. As NP is created using a digital camera and mobile phones, it can be published in more formats than AP, such as digital platforms like websites and social apps. For example, Cartier-Bresson’s photo exits as print in a gallery or collection (Phillips, 2017, para. 1). Bramante, as a digital photographer is not known because of exhibitions in galleries but publishes his photos mainly on Instagram without printing physical photos (Brahmino, 2020, para.2)
Distributed: Due to AP relying on printed photos, the distribution is mainly through galleries, books and magazines, which was true for Cartier-Bresson who worked with Holiday and Harper’s Bazaar Magazines (Phillips 2017, para.1). In NP, distribution is focused through online and social media platforms and it is difficult to differentiate between the publishing and distribution methods (Keen, 2020). We can see this in Bramante’s work, which is published and distributed through Instagram, and he can own both roles himself. Interestingly, Cartier-Bresson acknowledged this lack of control in distribution of AP, which drove him to establish a cooperative of photographers, Magnum Photos, to have more control of the distribution (Leicaphilia 2015, para.49).
- What differences and similarities did you discover between the way analogue and networked videos are authored, published and distributed?
Authored: AV is captured using a camera converting images to signals, which means to author this content is must be transferred from one physical form to another, therefore the editing process is linear and could have constraints on the outcome. However, in NV light and sound waves are converted into numbers allowing data to be decoded by software, which can have more options for editing and can make the process easier for individuals to author (Lister et al, 2009, p.19). In Osmann’s work, he exploits the possibilities of NV through editing, not only adjusting the content, but layering other 2D graphics 3D animations.
Published: Both formats are viewed on monitor or television, for AV the content was greatly determined by commercial potential by film and television outlets. Even in the case Nam June Paik, who’s AV work was artistic rather than commercial, he still published via broadcast television (Brooks, 2014, para. 13). Publishing on NV content can allow the author more control and independence in the publishing of their own work. For example, authors of NV content can upload content to their personal channel on online platforms and apps, making the process simple, affordable and instant. Osmann built his success with these methods and his personal brand (Krieger, 2019, para.31).
Distributed: AV relied upon broadcast media for distribution and was typically distributed through one channel. As an artist, Paik’s work was also distributed in galleries, but interestingly referenced broadcast media and was attempting to create participative T.V. in his work (Brooks, 2014, para. 13). The possibilities for distribution of NV are far greater than AV, which appears to be the largest difference. NV has the ability to distribute the same content on multiple platforms, for example Osmann uses Instagram, YouTube, Vimeo and Facebook to reach a wider audience (Krieger, 2019, para.31). Hashtags and geolocative tags link the content across platforms and promote it to new viewers, such as the explore function in Instagram. A recent development in NV distribution is Instagram TV (IGTV), allowing creators to develop their own personal channel of long play video content within Instagram. It is interesting that although this is NV content utilising the increased possibilities of distribution, the name IGTV takes its inspiration from traditional broadcast television.
References:
Brahmino 2020, Info, Brahmino, viewed 22 April 2020, <https://www.brahmino.com/info>
Brooks, B, 2014, ‘How Nam June Paik Used Technology to Search for a Deeper Humanity’, Artspace, 31 Oct, viewed 19 April <https://www.artspace.com/magazine/art_101/close_look/close-look-nam-june-paik-52522>
Cutler R, 2013, ‘Photography and time: decoding the decisive moment’ Academia, p.7, viewed 9 April 2020, <https://www.academia.edu/4826314/Photography_and_time_decoding_the_decisive_moment?email_work_card=view-paper>
Diallo, A 2013, ‘10 Instagram Photographers You Should Follow’, Forbes, 28 October, viewed 22 April 2020, <https://www.forbes.com/sites/amadoudiallo/2013/10/28/10-great-instagram-photographers-you-should-follow/?fbclid=IwAR2XB77WGr8AKyVoCtbwgwCFMme3uhD-JjHLECgbAb4VB9tBs3erckBsaFc#1afeb250270d>
Keen, S 2020, ‘Week 1 Introduction to your course’, lecture notes, COMM2219, RMIT University, viewed 2 March 2020, <https://rmit.instructure.com/courses/66343/pages/lectures?module_item_id=2275869>.
Krieger, D 2019, ‘Unpacking Murad Osmann’s #followmeto Instagram travel series’, I on the arts, 21 January, viewed 26 April 2020, <http://www.i-on-the-arts.com/2019/01/essay-unpacking-murad-osmanns.html>
Leicaphilia 2015, ‘Images on the run’, Leicaphilia, blog post, 20 September, viewed 9 April 2020, <http://leicaphilia.com/tag/henri-cartier-bresson>
Lister, M et al 2009, New Media: A Critical Introduction, Routledge, New York.
Phillips 2017, Henri Cartier-Bresson: The Eye of the Century, Phillips, viewed 9 April 2020, <https://www.phillips.com/detail/henri-cartierbresson/NY040517/38>
Spielmann, Y., 2007. ‘Video: The Reflexive Medium’. MIT Press Cambridge, Massachusetts.
