Digital futures in photography

Ingrid Richardson (Eds) (2012) Studying Mobile Media: Cultural Technologies, Mobile Communication, and the iPhone (Routledge Research in Cultural and Media Studies) Raise the iPhone with its back pointing towards your subject. Tap and hold the camera button on the touch screen. Release the button. Hear the familiar shutter release sound effect, and watch the shutter animation.

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Taking as its point of departure the rejection of the photograph as reproduction, this paper investigates photographic practice in the interstice of digital and analogue. Focusing on the iterative nature of my own photographic practice, I will examine digital and analogue processes as complementary modes of making which exist in a nexus of stasis and flux. Utilising a process I term " solvent wash, " my photographic works involve both digital photography and material intervention, so that the flesh of pixels becomes visible and images are made liquid. Carrying a single image through multiple iterations serves to question whether digitisation is a dematerialisation or instead a single step in an ongoing processes of re-materialisation. Examination of the photograph as a site of continued becoming then leads to a consideration of where the studio is, as it is de-centred from both the dark-room and the computer. I propose that the camera itself, through its portability, becomes a kind of moving studio that disperses the site of making and meaning, and entangles it with everyday lived experience. Photoconceptualism will be examined as an example of dispersed studio practice, drawing on Liz Kotz's notion that the photograph is not a secondary documentation but a performative utterance of an instruction, as well as Margaret Iverson's suggestion that this opens photoconceptualism to chance. This approach situates the photograph as a series of steps, highlighting an extended procedure of making and a studio that is spread across space and time. Through an investigation of digital and analogue processes it will be argued that hybrid practices potentially take place in a dispersed studio, and in doing so the historical role of the photograph as reproduction is questioned, giving way to an understanding rooted in fluidity, fleshiness and flux.

INTRODUCTION
1. PHOTOGRAPHY THEORY
2. SNAPSHOTS AND INSTITUTIONS
3. DOCUMENTARY AND STORYTELLING
4. SEEING PORTRAITS
5. THE COMPOSITION OF LANDSCAPES
6. THE OBJECT OF STILL LIFE
7. PHOTOGRAPHY AND ART
8. GLOBAL PHOTOGRAPHY
9. THE SCOPIC DRIVE
10. HISTORY AND PHOTOGRAPHY

“Managing to be simultaneously introductory and comprehensive, Photography: The Key Concepts ably guides the reader through the complexities of its chosen topic, examining photographic practice and discourse with equal acuity. Brought entirely up to date, this new edition is an excellent first stop in any student's quest to understand the nature of the photographic experience.” –  Geoffrey Batchen, Victoria University of Wellington, New Zealand

“This new edition builds on the legacy of photographic theory and practice deftly presented in the first edition, while incorporating visual content and contemporary issues indicative of a more socially connected global age. Beautifully illustrated with relevant images, Bate makes vivid with great clarity the intellectual terrain upon which theory resides without losing sight of its application and relevance to practice now.” –  Angela Kelly, Rochester Institute of Technology, USA

—Accurately extracting foreground objects is the problem of isolating the foreground in images and video, called image matting which has wide applications in digital photography. This problem is severely ill-posed in the sense that, at each pixel, one must estimate the foreground and background pixels and the so-called alpha value from only pixel information. The most recent work in natural image matting rely on local smoothness assumptions about foreground and background colours on which a cost function has been established. In this paper, we propose an extension to the class of affinity based matting techniques by incorporating local manifold structural information to produce both a smoother matte based on the so-called improved Locally Linear Embedding. We illustrate our new algorithm using the standard benchmark images and very comparable results have been obtained.