Dissertation - Daniel Jenks

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Newcastle College
BA Honours Creative Enterprise – Digital Media
Project Dissertation – CI603
Daniel Jenks
s1145682
Tutor: Clarita Lulic
Word Count: 9912
Have Modern Technological Advancements Changed The Way We View
Photography?

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Contents page
Introduction 3-4
Chapter One
1.1 History and Evolution of Photography 5-7
1.2 Modern Day Photography 7-9
1.3 The Threat to Current Professionals 9-11
1.4 Is the Latest Technology Causing a Decline 11-13
1.5 Future of Photography 13-16
Chapter Two
2.1 Popularity of Photography 17-19
2.2 Social Media Habits 19-21
2.3 How this Contributes to Food Photography 21-23
2.4 No Need for Professionalism 24-26
2.5 Political Processes 26-28
Chapter Three
3.1 Comparing Digital Cameras and Smartphones 29-31
3.2 Earning a Living from Modern Photography 31-33
3.3 Do we still need Prints to Demonstrate Skills 34-36
3.4 The Environmental Impact 36-38
3.5 Has Digital Technology Made Us Lazy 38-41
Conclusion 42-44
Bibliography 45-62

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Introduction
Throughout its entirety, photography has allowed people to express their full
creativity and even discover new things along the way. This practice can take
various forms and can be portrayed as a fun hobby or even a full-time
profession. What is important to understand from photography is the need to
know the background of things such as technical aspects and angle. This
form of expressing your creativity is often broad and at the end of the day it
comes down to a balanced mixture of art and science. It is important to
channel both when aiming to succeed.
Technology has always been involved in photography since the invention of
the practice in the nineteenth century, and it will still play a huge role in the
present day and towards the future. But how are people viewing photography
in the twenty-first century? Do the amount of technological advances make us
think differently about the art of processing images? This dissertation will look
into many different theories that discuss the role of photography in a modern
climate.
The first chapter includes a brief history of the art, with information relating to
how popular portrait painters were forced into redundancy by the invention of
photography. That heading will also relate to the modern day where current
digital professionals are struggling not to feel threatened by the new
generation of amateur photographers. There is also a section discussing in
detail about the arrival of the smartphone and how it is possibly contributing
towards a decline regarding quality and even family life. The final heading

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analyses the future of photography and how there appears to be a fine
balance in positive and negative predictions from the cultural commentators.
The second chapter looks at the popularity of photography, with examples of
what is available in different formats. The same heading will also look at how
the Internet is playing a part in the new rise of people taking the profession
up. Popular political processes are looked at in more detail with examples of
how photography can make or break leading world figures. Another section
debates the battle between professionalism and smartphone users. There will
also be discussion in relation to habits gained from social media and how it all
relates to the genre of food photography.
The third and final chapter carries out a comparison between the lens from a
digital camera and one from a smartphone. Are phones better or worse in
terms of quality? There will also be a section that focuses on whether or not
you can earn a living from publishing smartphone imagery alone. One topic
will ask if prints are still needed to demonstrate our best skills and whether
paper is still required. Another section of the paper discusses how modern
photography is affecting the environment, and closes with a focus again on
digital technology and if it has made more people indolent.

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Chapter One
History and Evolution of Photography
Photography as an art is like any other creative practice; it always
demonstrates a process of continuous evolution. When the art first came to
light in the nineteenth century, the development of the next movement in
technology was seen as new. However, that is now not the case, as the world
we live in appears to move a lot faster, and the advent of digital technology
has opened up a new chapter in the history of photography. In the early days
of photographic practice, it was often seen (Encyclopaedia Brittanica, 2015)
‘as a mechanical art because of its dependence on technology’ (Newhall,
2015), and history appears to be repeating itself as a lot of the processes in
modern day technology are done automatically.
Many who claim to be new photographers, are dependent on their
smartphone doing all the hard work for them, and it brings the value of
professionalism into question. The argument could go as far as the beginning
of the twentieth century when the Brownie arrived on the scene. This device,
which is the name of a popular and long-running series of cheap cameras by
Eastman Kodak, contributed towards the popularization of low-budget
photography.
It gave birth to the snapshot as a concept, with its simple lens, and even
simpler controls, with the intention to be a camera that anyone can use. It
spawned the slogan, (Kodak, 2015) ‘You press the button, we do the rest’
(Eastman, 1888). The last of the Brownies rolled off the production line in the

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nineteen eighties, but it did set the standard for the basic one-touch
photography that we get swamped with today.
The overall perception of many down the centuries has been that the
photograph does not lie, and it is recorded piece of reality. However, the
reality is often put into question with the option of using manipulative software
tools such as Photoshop and Lightroom, both of which provide the choice of
changing the way something looks in an image. For example, a grey skyline
can be cropped out, and painted in blue from a different file. Some people
may not spot the change in an image if a description is not provided.
Smartphone applications such as Instagram and Facebook can give anyone
the opportunity to change instantly the way in which an image can look
compared to its original file. Both of these applications, alongside other
alternative photography tools, have led to both academics and practitioners
questioning the real meaning of what it takes to be a photographer because
there is less of a need to use professional equipment to catch the crucial
moments in life. Anyone can use filters within the smartphone applications,
and it leads to a change in perception around the amateur and professional
boundaries. (Mannequin Pictures, 2015) ‘Everyone who has a ‘phone with a
camera is a photographer’ (Julia, 2015).
The photographer, or ‘artist’, has suffered devaluation in people appreciating
their work. There is no single answer to why this has happened, but there are
many contributing factors. One of them is the location of meeting customers. It

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was not so long ago where the client and customer met in a professional
studio or gallery. These spaces create a great first impression and often
provide inspiration. The popular place to meet appears to be the high street.
Patrick Rice asks, (Imaging Info, 2011) ‘Where is the professionalism in
meeting someone in a coffee shop?’ (Rice, 2011). In today’s modern world,
people lead busy lives and may have no option but to go into a café.
However, a professional photographer’s value could diminish if you choose
that option.
Modern Day Digital Photography
Without the work of early photographers and the work of Russell A. Kirsch, we
would not have access to the digital cameras and smartphones that we hold
as essentials in our lives. Often defined as Modernist Photography, the advent
of digital has changed the way that the world works with technology breaking
barriers that would not have been possible twenty to thirty years ago. Hunter
Skipworth said during the 2014 World Photography Day that the social media
website Facebook, (Digital Spy, 2014) ‘wouldn’t exist if it weren’t for the ability
to easily upload and share images using a digital camera’ (Skipworth, 2014).
In a sense, he is correct because the invention of that website has been one
of the biggest steps forward when looking at digital imaging over the last
decade.
A great photograph should be the combination of many things. As well as the
need for pressing and releasing the shutter button at the right moment, it is
also essential to consider perspective and composition. And there is the need

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to have a great eye for photography. Twenty-five years ago, the invention of
Adobe Photoshop set the high standard for industries to use editing tools that
were a lot faster and less time consuming. Constant coding and
developments in the software process every move when editing an image.
Thomas Knoll, who co-created the revolutionary program, was asked whether
or not special effects in films inspired his invention. In his answer he said he
had to, (Adobe, 2015) ‘create four-color separations on film and take them to
a printing process’ (Brady, 2015), meaning it was an expensive practice.
Fast forward to twenty-five years later and there have been around twenty
different versions of the software, and all of them aim towards an
improvement on the previous attempts. The program is so popular in a
modern climate, meaning that it has almost become compulsory to have it in
any line of business. Photoshop began as something where you could only
carry out image handling, but it has since gone forward regarding popularity
and even become a verb in its right. (Digital Arts, 2015) ‘Photoshop has
changed the way digital images are handled, altering the way in which
photographs are created’ (Brandrick and Burns, 2015).
The invention of Adobe Photoshop has in a sense spawned the creation of
similar photo editing programmes. The (Adobe, 2015) ‘family of products’,
gives users the opportunity to show off the best in digital images by changing
them into something that you can use from imagination. The resulting images
can be outstanding if the learner knows how to use the tools correctly?

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Photoshop itself is not just for photographers, but it is also an ideal piece of
software for the likes of web designers and video professionals.
The recent additions of mobile and tablet applications have made it possible
for people to edit and improve their images without the need to sit in front of a
computer screen. Heyo Blog, which is a website dedicated to small
businesses, argued that the best free from payment mobile application was
Adobe Photoshop Express. Don Caprio, a contributor to the website, claimed
that it was, (Heyo Blog, 2013) ‘extremely easy to use’, and ‘easy to
understand’ (Caprio, 2013). The option of having this application free of
charge does in itself create its problems concerning the current digital
professionals. It is an issue that leads on to the next heading in this chapter.
Threat To Current Professionals
There are thousands of individuals who want to be creative and ultimately
become professional photographers. A small handful of those people go on to
achieve that dream, however there is another handful of people who do not
have the determination to develop their dreams. A lot of hard work develops in
this industry, and there is the need to prepare well to be successful. Many
challenges in the profession are likely to be exposed, and could put people off
from continuing? That, of course, is dependent on the task.
It is estimated that there have been, (The Interactive Design Institute, 2015)
‘3.8 trillion photographs taken since the first at the start of the 19th century …’
(Creative Drum, 2015). That fact in itself makes the attempt to publish your

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work out in the open more difficult, and it will only become more challenging
thanks to the rise in smartphone technology. In this modern day, it seems as
though that everyone can claim to be a great photographer. As a result of that
thinking from certain people, image sharing sites such as Flickr and Instagram
have had billions of new images uploaded to their sites in such a short time of
existence. Even if a photographer’s work stands out from the crowd, it still
creates the problem as millions of others across the world are doing exactly
the same thing. Social media, in general, has in a way created numerous
problems.
Another threat to the already established professional photographers in the
world is the rise of the amateurs. Many people have an increased knowledge
in thinking that, (The Interactive Design Institute, 2015) ‘photography is
nothing more than taking decent photographs’ (Creative Drum, 2015). The
new generation of artists say that they are professional, but the word in itself
can often get overused. Someone who is a real professional in the field has
prior knowledge of the industry and is also an expert in technical terms. They
are the most consistent people in the profession, and in most cases provide a
high standard towards every single client.
In the summer of 2015 a controversial European Union law was proposed,
which would have seen photographers either amateur or professional
punished through copyright. The new rule would have made taking
photographs of famous landmarks and works of art in public spaces an illegal
act. It would also force people to seek permission from copyright holders,

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even in a scenario where the building or work of art is far away in the
background of a photograph. As expected this proposal was greeted with
criticism from many experts around the world with some of them branding it as
‘absurd’ (The Times, 2015).
Many countries in the European Union already have these controversial
restrictions in place, with the London Eye and the Angel of the North being
two examples potentially falling foul of the proposed law. Charles Swan, who
is working as a director at the Association of Photographers, said, (The
Times, 2015) ‘It is a complete invasion of our freedom of expression …’
(Swan, 2015). This new law is a big threat to individuals who use social media
websites such as Twitter and Facebook. If someone uploads content to the
sites just mentioned, it gives people the right to use the content commercially.
If the copyright law were to be amended, there might be an infringement of
owner’s rights.
Is The Latest Technology Causing A Decline
The camera phone has reached another new high in levels of popularity,
which in a sense could be portrayed as a positive. However since the turn of
the decade, a greater number of people are taking photos of a wide variation
of situations, and some even believe it makes them more powerful and
professional. Twenty to thirty years ago, photography appeared to be
restricted to those who could afford it and had previous experience of the
profession. Going back to the present day, the hobby has gradually become
more affordable with a seemingly unlimited amount of access to technology.

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Ryan Matthew Pierson states in an article how the technology cycle works.
(LockerGnome, 2012) ‘It starts off expensive and exclusive and works its way
down in price, breaking down that barrier of entry’ (Pierson, 2012). Similar
cycles also happen to the likes of computer gaming consoles and televisions,
with both of them becoming cheaper and affordable after a certain amount of
time. It depends on how well the products sell because sometimes companies
will lower their prices to compete with rivals in the industry.
The mobile phone itself has had a worrying impact on family life and other
social occasions. Many people in popular working towns and cities are
carrying on with their normal situations. However, there is a rather noticeable
difference, and it appears quite addictive. More of us are deciding to spend
more time looking at our phones rather then verbally communicating with
friends and family. For example, there are scenarios where people are
queuing at bus stops and train stations, with the majority having their eyes
down and not focusing on anything else.
The photographer Eric Pickersgill addressed the growing issue in his photo
series ‘Removed’. He noticed the addictiveness of the mobile phone in the
people around him, which includes nearby loved ones. His plan was to stage
a common everyday situation where people were normally holding their
phones, and then following it up by taking out the phones from each picture.
His style of imagery is eye opening and serves us a reminder that the phone
has become a dependent device for humans. When organising his series of

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photographs, Pickersgill analysed his addictive habits towards the mobile
phone. He said, (Cosmopolitan, 2015) ‘I just personally need the reminder to
put it down because it is an addiction’ (Pickersgill, 2015). The ‘Removed’
series of images takes on the feel of a documentary and it borders on being
uncomfortable the more you look at the imagery. They alert you to the fact
that the invention of the Internet is consuming everything and taking people
away from the art of conversation.
In a recent news article about the negativity towards the smartphone, a
wedding photographer uploaded an image on Facebook that suggests the
groom is having difficulty seeing his bride as guests lean forward to get a
photo with their phones and tablets. Thomas Stewart, who photographed the
event, spoke of his anger and frustration with the disrespect that guests
showed. He even wrote down some instructions for guests to read. One of
which was, (The Mirror, 2015) ‘These same guests will get in YOUR way. You
will miss seeing your partner's face in the aisle’ (Stewart, 2015). While that
complaint on social media may sound hilarious in some people’s eyes, it does
at the same time highlight the struggle that many established photographers
face when competing against the smartphone.
Future Of Photography
There seems to be a fine sense of balance in positivity and negativity when it
comes to predicting what the future holds for photography. The profession
shows no signs of being killed off anytime soon despite many claims, but is it
dying with regards to understanding? Stephen Mayes recently made a

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prediction in saying that, (Time, 2015) ‘there will be no such thing as a
"straight photograph" (Mayes, 2015). But has there ever been much in the
way of straight imagery? Contemporary practitioners claim ‘that straight
photography is documentary and limited to showing “reality” exactly as it
might be seen on an ordinary day’ (Hyde, 2010).
Technology has always surrounded technology itself, but it has not ever been
about it so to speak. Change will always happen, but whatever comes next
will represent something that is dramatic and will demonstrate what
photography can be and who will embrace it.
It is rather unsurprising that photography is different to what it was twenty to
thirty years ago, but it is the pace of change that has got many people
questioning what will happen next and will it ever end? Will the best new
camera on the market be a smartphone rather than a digital SLR? Earlier this
decade Annie Leibowitz claimed that the camera in an iPhone was,
(Huffington Post, 2011) ‘the snapshot camera of today’ and goes on further in
describing it as a ‘wallet with the family pictures in it’ (Hick and Richman,
2011). In a sense, this appears to have consigned the reasonable priced
digital cameras into the scrapheap. The ease of functioning a camera phone
could become so great that there will be no need for the traditionalists.
Remembering what we have taken on a camera has also become a major
issue over the last fifteen years. With advancements in photo taking being so
reliable with regards to saving our files automatically, some people are now

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dependent on the device remembering events for them. Psychologists are
increasingly concerned about the effect on impairment with social media
websites such as Facebook being singled out. Linda Henkel, who works at
Fairfield University, has published evidence that there is a, (Independent,
2013) ‘photo-taking impairment effect’. If someone captures a moment, they
become prone to not remembering it. Henkel also talks about the problem of
people trusting the camera to record events. She said, ‘… it can have a
negative impact on how well they remember their experiences’ (Henkel,
2013).
Commentators in the cultural world regularly complain about the human
obsession and compulsion with constant picture taking, and now scientists are
suggesting the same thing. From all the evidence gathered in this part of the
chapter, there appears to be an absence regarding organization. Large
amounts of data concerning digital photographs in storage have alienated
some people from being reminiscent. In the nineteen nineties, it was common
practice to have photographs processed in a high street shop and see the
final results. That method provided people with better interaction towards their
images because the albums were smaller and not stored in a mass volume
like on an iPhone.
The more recent decades have seen an increased awareness in people
wanting to know what the future holds for photography. Despite many
predictions from experts around the world, no one can accurately predict what

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will happen next to the profession. Why? Because technology advances really
fast, hence the difficulty in establishing a clear outcome.

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Chapter Two
Popularity of Photography
Photographs have always been popular (Digital Camera World, 2014),
especially since the advent of digital. However, since the beginning of the
twenty-first century, they have in a sense become the thing ‘relating to popular
culture’ (2013). Most of the photography seen in media these days appears in
relation to current events. And there is a heavy reliance on images to
communicate in a social and serious manner with news from around the
world.
The theorist Brian Roberts goes into detail about the general look at a still
picture, and how viewing it many times over can absorb us in ‘an imaginative
and narrative construction’ (Forum: Qualitative Social Research, 2011). In his
journal, he explains a lack of consistency, and that there might be no endings
to a story being told. ‘A personal reaction to a “photographic self-image” may
indicate shifts in self perception and construction as individuals relate their life
to and through photographic depictions of themselves’ (Roberts, 2011). This
in a sense points out the mood of each individual when they see a still image.
It can trigger positive and negative reactions, depending on the type of person
they are.
The invention of the World Wide Web has led to an increasing rise in the
number of photo blogs. It is down to the fact that it is easy to set up a page,
and it does not take much time to complete. This is a common type of blog,
because it is all about photography, and there is little in the way of words. It is

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helpful to have short descriptions about each online photo gallery because it
lets the viewer know what the topic is.
They are also easy to preserve, because many photographers feel alienated
with (Smashing Magazine, 2009) ‘the complexity of HTML coding or installing
a CMS such as WordPress’ (Gibson, 2009). Just like most photographic
exhibitions in the UK, they are free of charge, unless the user sets up a
campaign with a daily budget that focuses on certain products or a theme.
Google AdWords is a prime example of allowing a business to get more
online attention. The user decides on things such as the amount to spend and
a target audience that can be tailored towards a person’s country or for all
countries and territories. By adding the tool of advertising, the user’s audience
grows, and the viewers may come back to see more.
The invention of the Internet has played a huge role in the increasing
popularity of the digital image (The Telegraph, 2010). The addition of e-mails
and web pages permit each person to share photographs with one another,
and on most occasions it is done instantly. With the sudden addition of digital
manipulation, why do the new photographers need to wait? ‘Why wait for film
to be processed and printed, even if it was done in a one-hour lab …’
(PhotographyTips.com, 2011). The days of purchasing a traditional black and
white film appear numbered because it requires more skill, and digital does
not.

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The popularity of photography and blogging has also triggered another threat
to a shared profession. Photojournalists are trained to take photographs, as
well as have the literacy to include a narrative about what they have taken,
and why they came to a decision in publishing that work. All photojournalists
count on their insight, and the skills used to make it happen acquired with
many hours of practice and passion.
(The Guardian, 2012) ‘It is increasingly hard to judge the value of amateur
eyewitness film shot on a mobile phone and posted on the internet against a
considered, observational documentary broadcast on a traditional television
channel’ (Bulkley, 2012).
Social Media Habits
There are so many options of self-promotion via social media, and sometimes
it can be hard to work out the one that is right for the individual photographer.
The other alternative could involve not setting up an account, but in doing so a
person faces the risk of falling behind their competitors. It is a natural human
instinct to form habits, and it is also easy to get carried away with something
that is enjoyable. For example, if someone posts a series of images online all
at once, and not post something again until much later, it could come across
as erratic. And that could alienate any potential new viewers or customers.
In most cases, when social media gets discussed, the first platform that
comes into people’s heads is Facebook. With around (Business Insider, 2012)
‘300 million images a day’ (Thomas, 2012) uploaded to the network, it is by far

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the primary option for photographers to use customer engagement as an
essential tool. And it is also important to avoid using a personal account on
the site as only the people that were added as ‘friends’ can see what the
individual shared with the world. Photographers, who choose to use Facebook
to start a page, can look through the (Graph Paper Press, 2015) ‘analytics
that can help you determine how effective and engaging your activity is’
(Ewer, 2015).
Another social media platform to use as a habit of trying to find new
customers is Twitter. Even though the advantages of it are not as clear
compared to Facebook, it is still possible to upload the same content.
However, there are limitations in doing this, with the primary example coming
in the shape of only having one hundred and forty characters to use. If a
photographer cannot fit the same information on a single tweet, they can copy
and paste the link. For example, if someone discovers an artist first on Twitter,
they can click/tap the link and find that they have other pages online. Twitter
also gives the person the option to pay for advertising with the aim of
increased visibility, especially when people type a name into the search
engine (Twitter Ads, 2016).
Recently a study showed that (Choices, 2015) ’90 percent of all Instagram
users are under the age of 35’ (Primeau, 2016). That statistic will probably not
come as a shock; however it is quite fascinating to see how people of certain
age groups use something as popular as this mobile application. A 2015 study
by researchers at the College of Information Sciences and Technology looked

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into the purposes of using Instagram and discovered that teenagers are (Penn
State, 2015) ‘more focused on posting photos that attract attention’ (Koons,
2015). The behaviors of that age group almost act on impulse, and that might
be one of the reasons why so many are attached to their smartphones and
tablets. More ‘Likes’ for their online content can mean more in the way of
validating their presence.
In general, social media is seen as an addiction. But does it impact on the
health of an individual? It can be just as effective as taking some form of
drugs, and a study unveiled ‘that during self-disclosure … participants
activated the Nucleus Accumbens’ (Fix, 2014). It is part of the brain that
enhances an addiction. And self-disclosure also relates to the joys of
pleasure. For example, that same desire refers to when an individual
consumes food, or when they get some money. Just like most other
addictions in life, too much of anything can be bad for the health, and social
media fits into that category.
How this Contributes to Food Photography
Food consumption throughout its history is considered as a social activity,
which is why it is important to understand the context when looking into
modern eating patterns. There is no doubt that social media has caused a rise
in the relationship between itself and food photography, but how do people
define the word social in a modern world? Communication since the beginning
of the twenty-first century has become easier, and food has found a place in
this highly connected world.

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A number of food websites, in addition to traditional social media pages, have
increased at a fast rate. (HuffPost Food, 2014) ‘Food blogs, food forums, and
food groups in online social networks are numerous’ (Holmberg, 2014). Some
of them are used as ways to communicate new recipes, with others acting as
platforms for restaurant reviews. The subject matter can differ with how well
the presentation of food is, and how it should get consumed. Illustrative
examples promote the enjoyment of eating, and can often inspire the reader
to recreate what they have seen on screen.
A recent study into consumer habits by Waitrose showed that social media
was influencing choices on food. The use of sales data alongside research on
the consumer itself found that millions of people were uploading and sharing
photos of food and supporting recipes on popular platforms like Twitter and
Instagram. During that year, the British supermarket (Marketing, 2014) ‘said
its Twitter followers rose by three-quarters, while its Facebook ‘likes’
increased by over 50%’ (Spary, 2014).
Social media also plays a significant role in getting certain food styles to trend,
with national and international events such as the Olympics, the Eurovision
Song Contest, and the Commonwealth Games contributing heavily to a sale
surge in individual items. Television commercials and still image
advertisements used to be the primary tool for leading supermarkets to tempt
the viewer into buying their products. Marks and Spencer has been leading
the way in presentation since the start of this century. There is evidence of

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this in their January 2016 commercial, which promotes the need for healthy
eating (Marks and Spencer, 2016). While this is still popular, it has in the last
decade been overtaken by the trends that develop through social networks.
For the start of the 2014 FIFA World Cup in Brazil, sales of South American
wine were up fifty percent, while frozen pizza went up thirty percent (Retail
Week, 2014). People’s tastes became more multicultural and foods from
different cultures are even more available than they used to be. Again this has
something to do with the rise in social media, and many people are finding
new inspiration from others across the globe.
Sharing images of food on Instagram has been a popular trend since it
launched in 2010, and it is increasing in popularity all the time. (We Talk
Social, 2014) ‘People feel proud to share gourmet food that they’ve either
bought or made themselves’ (Ham, 2014). Top celebrity chefs are also
jumping on the bandwagon, with the likes of Jamie Oliver leading the way in
uploading new recipes and sharing tips for those who want to recreate
popular dishes (Instagram, 2016).
On reflection, social media is changing the way in how people see food, but at
the same time, it is also out there to help the food businesses. Many
companies are now using this tool to sell their products, and with accessibility
to many sites at an all time high, it allows the smaller businesses in the world
to flourish. With social networking continuing to rise in popularity, the search
for more unusual eats looks set to increase.

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No Need for Professionalism
The most common problem on the Internet since this century surrounds the
definition of what constitutes a professional photographer. A professional
(KenRockwell.com, 2008) ‘earns 100% of his income from photography’, while
an amateur gains ‘less than 50%’ (Rockwell, 2008a). In a sense that could get
seen as the truth, but at the same time, it tells us little about professional
behavior or skill.
In today’s world, there is no need for a photographer to have a qualification to
recognize their achievements, and (KenRockwell.com, 2006) ‘you don’t even
need a college degree’ (Rockwell, 2006b) to become an artist. A definition of
a profession is someone who has had to train or been an apprentice to
practice independently in the following areas such as law, medicine,
accounting, and architecture. However, in the photographic world, it is a lot
less strict, and there are not many accreditation bodies that educate the public
about the expectations from clients. In today’s modern world, (Black Star
Rising, 2012) ‘Tastes, attitudes and values are changing as fast as
technology’ (McMullin, 2012), with smartphones leading the way in the
argument of how modern photography is portrayed.
Despite all that, there are some exceptions to the rule with companies such as
the Royal Photographic Society and the Association of Photographers acting
as two leading players in the professional world. The Royal Photographic
Society (RPS) exists as an organization that helps ‘photographers in realising

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their potential, irrespective of their level of knowledge, equipment or skills’
(The Royal Photographic Society, 2015), and that even includes those who
use an iPhone for their work.
There is this combination of varying standards and not much in the way of
awareness for the ordinary consumer. Ming Thein attempts to address the
problem in an article about photography, and how it relates to
professionalism. He said (PetaPixel, 2013) ‘part of the problem is that,
because the nature of our work is so subjective in the first place, it becomes
difficult to apply quality control standards to the output itself’ (Thein, 2013).
From an amateur level and right up to the top professionals, there will always
be a set of standards for people who give out a service. Sometimes it is not all
about the quality of the equipment; it can also be about the person’s attitude
to the art. Clients will hand out briefs believing that the individual they hired
will deliver as promised.
Not many people in today’s society can find the right answer when trying to
define a professional photographer. It’s hard to identify which individual
makes the most of their income from photography. Since the turn of the
decade, there are an increasing number of ways where people can use
photography without the need for craft and skill. The likes of Twitter,
Facebook, blogs, camera phones and stock imagery websites have all made
it easier to live a life of photographs.

26
Many people down the years have asked, or even demanded an easier way
to carry out photography, and that peer pressure has now become a reality.
This medium had an impact on printed media with some magazines and
newspapers no longer needing full-time photographers to get a great image
on the front and back pages. (The Zen Photographer, 2015) ‘Do a good
enough job with your camera phone and travel agencies will pay the trip for
you, just because you reach enough people on your Instagram’ (Lennartsson,
2015).
Political Processes
The relationship between photography and politics has been around ever
since its inception, but the image itself has never been in use as an essential
tool for the political world until now. There are some who argue that the
relationship has no story to tell, but without visualization, it is harder to
communicate a message. The image as a whole is deemed suggestive, and it
can have an enormous role in the manipulation a message can receive. Even
if someone says that they will not do anything political in a photo shoot, there
will be some aspects of it, including in a smartphone. (Photography Daily
Theme, 2013) ‘We just cannot wash the politics out of photography’ (Theme,
2013).
Many of us are familiar with the famous phrase ‘one picture is worth ten
thousand words’ (Barnard, 1927), and an exceptional image can tell the
viewer a lot more than just words. It can trigger a wave of different emotions in
the brain from joy to sadness, and it does not need to be written or spoken out

27
loud. An expert in accomplishing the art of achieving a political message in
photographs is White House photographer Pete Souza. As President Barack
Obama’s personal photographer, he communicates the serious message
using simple and non-staged photography.
Souza’s job in working with the president of the United States of America
were not seen by many, but that changed in 2008 when he published the
book The Rise of Barack Obama. It features unseen photographs of the
former senators rise in becoming the world’s most powerful man. And even
after Obama got into office, Souza did not stop shooting him, and usually
goes wherever the president goes. He helps to stage him (Photography Daily
Theme, 2012) ‘as a cool kind of guy without shying away from the man’s
weaker moments’ (Theme, 2012).
Photography is deemed as political in the sense that the context takes place
culturally and socially. It has that power to manipulate, even though it could be
unintentional. The definition of politics is ‘the activities of a government … who
try to influence the way a country is governed’ (Cambridge Dictionaries
Online, 2016). For example, someone could change the perception of a
political protest by just cropping a frame that represents a large gathering of
people, and then portray it as something small and isolated.
A lot of newspapers tend to follow a practice where manipulation and digital
enhancement are the best methods for selling more than their rivals. (Spiegel
Online, 2013) ‘Mounting competition in the market for news images is forcing

28
photo-journalists to make their output as dramatic as possible’ (Krug and
Niggemeier, 2013). However, in an age where Photoshop and other image
enhancing applications dominate the editing world, it has become harder to
tell which images are real or choreographed. For example, there are many
images in print and television where hundreds of people are in emotional
devastation over what has happened to their war-torn country. Most of them
appear in crowded spaces, and it makes people wonder how a photographer
got in there and had so much space.
There is this inappropriate attractiveness in seeing innocent civilians of people
having to either bury loved ones or fleeing their country for a better life. But
the debate on today’s realism can never really be resolved, and some
question whether certain images in the media are too good to be true.

29
Chapter Three
Comparing Digital Cameras and Smartphones
As most people are aware, the camera in a smartphone has become the
fastest and often easiest tool to take great photographs. The appearances are
slim; they are light to carry, and also convenient in more ways then one. While
they produce an excellent standard of imagery, it is ‘still far behind compact
cameras in terms of the quality of photos taken in a variety of environments’
(Jean Contu, 2016). Both camera formats are very powerful, but ultimately,
which one takes the best pictures?
A 2014 study by consumer interest group Which, tested five compact cameras
against five of the most popular smartphones, and found that the overall
winner was a compact. The Nikon Coolpix P330 finished at the top of their
charts, with the stand out test coming from outdoor photos. It included ‘a
natural range of colours showing fine detail’, and ‘flash shots indoors’ (Which,
2014). It is also proof that the older format of a single-lens reflex camera can
lead the way in most situations.
However, the runner-up in this poll came in closer then first predicted, and
that camera was the Apple iPhone 5s. Just like the compact camera from
Nikon, the ‘outdoor shots are a real strength’. The delay in the shutter is also
highlighted; with it’s minimal timing ‘great for action shots’. However, the
biggest degree of separation compared to the Nikon is the digital zoom. ‘The
more zoom you use, the less detail you can see (Which, 2014). It shows that

30
the smartphone, as a point and shoot device, has a lot of catching up to do,
especially when zooming and cropping are taken into consideration.
Many camera companies are struggling to make a profit from selling their
products. But Heino Hilbig, a former Head of Communications and Marketing
at Olympus Europe, argues that smartphones are not the primary cause of a
decline in the SLR. He goes on further to say that the fun-factor in a phone
and ease of operation have made the camera less useful (Hilbig, 2015).
Michael Heath, an IT member at the University of Pennsylvania, also picks up
this particular argument by claiming that sales in cameras (Photography Life,
2015) ‘are probably down because of their needless complexity’ (Heath,
2015). It does not persuade people to get an upgrade from their already
existing smartphones. The automatic functions of those devices have made
photography an easy hobby to pursue. All it takes is just a simple tap on the
screen, and the job gets done.
A further argument for the digital camera and smartphone debate could relate
to individual companies making the move towards more user-friendly
interfaces. However, this move has provided some mixed results as the
promotion of new models are (Digital Photography Review, 2015) ‘met with
either disappointing sales or sales to an entirely different group of users’
(Butler, 2015). It has not caused camera makers to go back to the drawing
board. Instead, it has allowed enthusiasts to buy modern equipment without

31
the correct tools to carry out functions for raw files, which (CNET, 2014)
‘allows you to process the image to your liking’ (Savvides, 2014).
It is without doubt that anyone who owns some form of digital SLR tends to
struggle initially with all the different settings on an LED screen. They do
become easier to navigate once the user finds the time to learn how to
operate it properly. But many new photographers prefer to share instantly,
and not think about the technical aspects. (BT, 2015) ‘Once connected you
can share photographs from your phone within seconds, via text message, by
attaching them to e-mail or by posting them to Facebook’ (Bouckley, 2015).
Quantitative data also revealed that nearly nine out of ten camera owners use
a smartphone to take pictures, and the amount of pictures taken had passed
one trillion for the first time (Communities Dominate Brands, 2014).
Earning a Living from Photography
When deciding to transfer a hobby to something more professional, it can be
a difficult step. Most practitioners tend to jump into the deep end from the
start, but that can lead to professionals feeling (PetaPixel, 2014) ‘miserable
after taking their passion (photography) and making it their business’ (Kim,
2014). The photographic business is a fickle one, and it can be the worst
profession if profit is the primary goal. ‘Practically every other type of job out
there will make you more money’ (The Modern Tog, 2016).
Becoming a photographer has never been easier, and it is more and more
challenging every year, with new technology making the process of taking

32
pictures a simple task. As a result of this, more images are circulating online,
and more photographers are emerging in the fast-paced market.
Fellow photographer Joel Sartore, who has a website, talks financially about
(Joel Sartore Photography, 2015) ‘an over-saturated marketplace combined
with a recession and shrinking budgets’ (Sartore, 2015a). The combination of
these factors has made it difficult for practitioners to pay the rent, and more
people choose the option of doing it for free. Although there are exceptions to
the rules in the professional world, with fields such as portrait, landscape and
wedding photography winning a modern day battle.
The wedding industry stands out as one of the best ways where a
photographer can make a profit. With it’s (Digital Photography School, 2013)
‘low cost to entry’, it can earn the practitioner more money in a short time
compared to other fields. It worked for John Davenport when accepting an
offer to shoot a wedding. He spoke about the pressures of preparing an event
of this magnitude by saying ‘it felt like I had a mountain to climb’ (Davenport,
2013).
Wedding photography is a high-profit business, but amounts can vary
depending on how many jobs a photographer can do in a calendar year. Many
couples tend to get married when most people are off during holiday periods
(Drinkwater, 2013). If the photographer shoots two weddings per weekend, it
could cause tiredness and affect the image quality. Costs are important, and
many who start out in the business forget to consider the basics. (Phil

33
Drinkwater Photographer, 2013) ‘To build your business, you can improve
your sales, marketing, customer service and/or photography – not just your
photography’ (Drinkwater, 2013).
There are people in photography, whether they are good at it or not, who like
taking photographs. It is this have-a-go attitude that makes them want to
capture the most special moments with their cameras and smartphones. Until
recently, only a small handful of practitioners were capable of earning a living
from something as specialised as stock photography. It included (Light
Stalking, 2012) ‘a lot of specialized training, expensive equipment and the
elusive knowing the right people at the right time’ (Towne, 2012).
But since the advent of digital, the tradition has declined, and anyone with a
good quality camera/smartphone can achieve their potentials in gaining a
profit from photos. A new entry in the commercial world is the Microstock
model. It is a common name relating ‘to the low priced royalty free stock photo
industry’ (Microstock Photography, 2010), and serves its purpose for lesser
known businesses and personal use. This model of activity has also allowed
photographers to enter the bigger stock market, with many agencies asking
practitioners for their images. It allows people to make a real profit at all skill
levels (Microstock Photography, 2010).
(Photography On The Side, 2012) ‘So fuel your passion, put in the time, and
reap a lifetime of rewards’ (Oakley, 2012).

34
Do we still need Prints to Demonstrate Skills
Since the arrival of digital photography, it has saved many people the stress
of shooting with an old traditional film. It is now possible for everyone to tap,
edit and save images without having the added worry of making a mistake.
But an emerging problem from the freedom that modern photography
provides is that it has alienated some people from printing out work. (Pocket-
lint, 2011) ‘Without tangible photography and a well made print of a photo, few
will ever fully experience the joys of a truly decent shot’ (Skipworth, 2011).
For those who want to become technically better with their photography, it
helps to print work as it shows both skills and knowledge. When other people
look at it, a different light is shared, and it can be broken down into the finest
detail. Preservation concerning digital images is a modern day issue, with
Google’s vice president Vint Cerf sending out a warning to people who do not
consider printing out the more precious moments.
(The Telegraph, 2015) ‘If there are pictures that you really really care about
then creating a physical instance is probably a good idea. Print them out,
literally’ (Cerf, 2015). While he believes that the importance of data storage is
not clear, he points out the need for computer users to keep as many
memories as possible. If incorrectly stored, it will be lost through older
operating systems (Knapton, 2015). The reliance on technology to do the
work could spell warnings for future generations who reflect on this era.

35
It is unsurprising that many are choosing the option not to print their work,
given how easy it is to send files digitally. An example of this is through e-mail
because it is quicker, and can save people time. New technology appears to
be defeating the old printed document, but there could be something more
significant to this battle. (PC Advisor, 2014) ‘We tend to look at photos on our
laptop, smartphone and tablet screens and share them online rather then
printing them all out’ (Bedford, 2014). There seems to be a lack of desire
amongst people to put in that particular effort because they are not aware of
the issue.
A traditional print has overwhelming appeal compared to an image on the
screen, and they can be treasured more in an album or when displayed on a
wall (PC Advisor, 2014). In general terms, they look a lot smarter, and they
also portray an essential purpose that feels more cherished, especially in a
family album. Mike Bedford of PC Advisor argues his case for the need of
having a printer at home. He talks about it not being the cheapest option but
goes further to say that (PC Advisor, 2014) ‘it does offer a major advantage:
convenience’ (Bedford, 2014). Practising this method at home can get the
work done instantly, and it is highly important for photographers as they can
fine-tune their prints, and not have to wait for it in the post.
Regardless of all the reports concerning the print industry, it has in a sense
(The Guardian, 2012) ‘been greatly exaggerated’. A survey taken in April
2012 by Deloitte ‘found that 88% of magazine readers in the UK still prefer to
consume articles via print’ (Hooper, 2012). However, with sales of

36
smartphone and tablet devices on the increase, this statistic could have easily
been consigned to history.
However, despite the closures of several camera and print companies such
as Jessops (BBC News, 2013) and Blacks in Canada (CBC, 2015), reports of
an ending for the publishing industry have been overshadowed by a mini
revival. The old paper printing method does not appear to be losing popularity
anytime soon.
The Environmental Impact
When people buy a digital camera, most are aware that they are saving a
significant amount of money compared to film and other equipment. The
process of retrieving an image from a digital camera is a lot easier and more
convenient in terms of time, and can benefit people who have a portfolio.
Digital is also contributing heavily to the environment, with many practitioners
playing a part in reducing the planets emissions (Earth Times, 2012).
Chris Keenan from the Earth Times website, explains in great detail about the
amount of waste that film cameras produce. (Earth Times, 2012) ‘Most film is
made of plastic coated with silver halide salts. This stuff doesn’t biodegrade
and the silver salts aren’t good for the environment’ (Keenan, 2012). This
impact has lessened since the turn of the century because more and more are
now turning to digital, which has no need for harmful chemicals at all.

37
Another way towards the impact that photography has on the environment
can be through the individual. The harm to nature can downgrade if the
practitioners set up a film studio or darkroom at home. (Photo.net 2008) ‘You
won’t have wasted prints or envelopes and you won’t have to travel to get
your negatives’ (Ghantous, 2008). However, electricity is still required,
especially for small powered lights and digital timers that count down how
long a photo should stay in the chemicals.
Photography and the impact on the environment can also take on an entirely
different meaning in exposing the dangers to wildlife. With digital making more
locations accessible, photographers have the opportunity to present problems
that would not have been obvious a couple of decades ago. It can also help in
attempting to get the public to care about what is happening right now
(Sartore 2015b). The photographer Joel Sartore recently made a prediction
relating to the environment and it’s future.
(Joel Sartore Photography, 2015) ‘It’s ridiculous to think that we can destroy
so many of the Earth’s plants, animals and ecosystems and not think it can
happen to us. All of this will come back to bite us, and sooner than we think’
(Sartore, 2015b).
Photography’s transfer from film to digital has made the human race appear
more successful thanks to the number of resources available, which in turn
can never make people feel fulfilled (Sartore, 2015b). Groups such as the
International League of Conservation Photographers are beginning to

38
persuade photographers to think twice about the current state of the
environment. ‘Our mission is to further environmental and cultural
conservation through ethical photography’ (International League of
Conservation Photographers, 2016). Their aim is to create more awareness in
the public eye from an average everyday person right up to the high profile
politicians.
But where did public awareness of the environment start in photography.
Some experts believe it began with the landscape photographer Ansel Adams
with his accurate description of the American West. As a (PLOS Blogs, 2013)
‘conservationist, Adams sought to inspire the preservation of the landscapes
he captured on film’ (Kieniewicz, 2013). His series of images were important
in letting people know about the value of nature. It also changed the public’s
perception of believing that land was unlimited.
This particular photographic genre has in a sense created a body of work
where it can make people change their minds over what they initially thought
was real. The advent of colour has kept this awareness alive right up to the
present day, and it is likely to stay as it is for future generations.
Has Digital Technology Made Us Lazy
Since the beginning of the twenty-first century, the modern world appears to
be driven entirely by the use of technology to carry out different aspects of
daily lives. Modern society gets surrounded by technological advancements,
(PC Tech Authority, 2016) ‘but it’s what it does to us inadvertently that may be

39
a cause for concern’ (Imbellino, 2016). In today’s world, technology has
allowed people to carry out tasks that were previously time consuming.
Sometimes all it takes is one simple click of a button, or even speaking into an
iPhone that has a feature called Siri. This service allows people to use their
‘voice to send messages, schedule meetings, make phone calls and more’
(Apple, 2016).
When Google arrived towards the end of the twentieth century, it
revolutionised the way in which people accessed new information. In other
words, it (Lifehack, 2015) ‘has made the process of learning how to do things
extremely easy’ (Jackson, 2015). In the past people used to ask someone
else, or they attempted to work it out and eventually corrected it after several
failed attempts. But in today’s society, this almost never happens (Lifehack,
2015) ‘as a quick search on Google will bring up instructional YouTube
videos, blog posts, and PDF’s that show you how to do everything’ (Jackson,
2015).
Google has also set the standard for people to use websites to correct any
spelling mistakes. Over a decade’s worth of work has gone into improving the
way in which technology can predict what users are trying to say as they tap
on their keyboards (Toronto Star Newspapers, 2012). For example, someone
could type in the word ‘exprience’, and the search engine would help the
person get to the point.

40
Michael Oliveira, who is a technology journalist, believes that (Toronto Star
Newspapers, 2012) ‘Google would be a great judge of whether our spelling
abilities have deteriorated with the advent of autocorrect tools’ (Oliveira,
2012). There are significant factors that certain people have grown lazier with
word typing, and they can trust the likes of Google and Yahoo to back up their
requests.
There is also another side to the whole argument of digitalisation in society,
with certain practitioners claiming that modern technology might not be
making people as lazy as some suggest. Carolina Coviello, who contributes to
the Shaping The Game website, points out five different mobile applications
that are encouraging people to communicate more. One particular application
she mentions is Kickstarter, a platform that allows funding (Shaping The
Game, 2015) ‘for projects of all kinds, from food, to photography, to
technology’ (Coviello, 2015). This organisation helps users to build ideas from
anywhere, including in the comforts of their homes. It also allows people to
develop their entrepreneurial skills (Coviello, 2015).
Coviello goes on further in the same post to say that claims of technology
making people lazy are in itself lazy. (Shaping The Game, 2015) ‘It’s not
technology that makes us lazy, is the way we use it that does. It’s up to us to
learn how to be smart users’ (Coviello, 2015). Technology, in general,
provides people with power, and it is down to the actions of the individuals in
how they can be safe with it.

41
Both sets of arguments concerning the digital age have made some people
sceptical while others take a different side and feel more optimistic about the
changes. Whichever way people look at it, the modern era of digital
technology has arrived and shows no signs of disappearing anytime soon.

42
Conclusion
Studies in the history of photography revealed a never-ending process of
evolution. Modern technology led to questions about the professionalism of
the practice, which also connected with clients no longer meeting in a studio.
Research also revealed an increased dependence on people who relied on
devices doing the difficult work for them. Studies showed the Brownie as an
example of a camera providing cheap photography. Many people perceived
the photograph as recorded reality, with further studies exposing doubts over
realism.
One section identified an imbalance relating to positive and negative
arguments for the future of photography. Negative aspects were frequent in
this study because of limitations in evidence suggesting a positive outcome
for the practice. When practitioners discussed the future, they pointed out at
least one concern. A deeper study for a balanced argument would have been
necessary if more time allowed it.
Studies showed photography’s popularity had not declined, with current
events leading to a heavy dependence on images to attempt to present the
news as it happened. A theoretical study revealed through qualitative
research how moods were affected when viewing a photograph. Further
studies suggested that mood changes depended on experiences of the
individual, and how the image related to experience.

43
Individual habits came up during this study, especially when looking at social
media. This related to uploading on impulse, which was seen as erratic and
had potential to alienate followers. Twitter and Facebook were identified as
places for improved user interaction, with research showing Twitter as a less
efficient tool due to the limited number of characters for each message.
This part of the study also connected with food photography, and how it was
used in advertising. Consumer habits and influences from supermarket
studies provided evidence of a food and social media combination. Statistics
showed that people were sharing recipes based on changing trends in cultural
food taste.
Further research into the comparisons of SLR’s and smartphones showed
that compact and mobile devices were closer then expected. Figures also
identified significant stumbling blocks for the smartphone, especially when
zooming in on subjects. One particular problem emerged with practicality, and
the alienation that some felt about printing. New technology permitted people
to look at work on a screen, and not even consider putting it on paper.
Systematic research into the studies of technology and opinions of
practitioners was critical in identifying an answer for the discussion of this
topic. It enabled the exploration of relevant ways in finding qualitative and
quantitative data. It also identified the need to determine the likely causes for
a decline in the industry.

44
Photography will always be significant in communicating a message, but will it
become so easy that it no longer becomes an occupation? This research
suggests it has been for a long time because of the digital camera, which has
taken real skills out of a profession. Technology in the present century makes
it easier to accomplish a technically excellent image, and have eliminated the
need to learn old-fashioned processes.

45
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