image via https://twitter.com/mattdpearce/status/331096177393160193
I’m fascinated by the cover of yesterday’s Sunday New York Times. Fixated on the image of Boston Marathon suspected bomber Dzhokhar Tsarnaev, I was momentarily unable to notice the words surrounding it. I was a little stunned, then angry, then captivated. The image, not just the Instagrammed selfie of Dzhokhar, but this photo within the culturally significant New York Times front page, is endlessly sociologically fascinating.
For some, this cover provokes anger (more…)
all photos in this post by nathan jurgenson
This is a disorganized photo essay with my photos and random ruminations from Occupy Congress last week.
Larger versions of these photos; am very happy to share them, just ask and/or credit me: twitter.com/nathanjurgenson
I snapped this photo at #OccupyCongress yesterday.
I wanted the photo above to be an example of the new so-called “living pictures” that have garnered much recent attention. However, Lytro has not provided proper embedding code so I can only post this screenshot of a living photo. I highly recommend clicking on the photo or clicking here before reading along.
Update: the code now works, so before reading on, click the photo above. Click around various parts of the image and watch the focus change.
Okay, by now you have experienced a living photo. You see it, but you can also make it come alive; touch it, change the focus, reorient what is seen and focused on. Some might even argue that you get to decide the meaning of the story the image tells. This post asks: what would it mean if we start posting living pictures across social media? Might it change how we take photos? How might we differently interact with social media photography when we can manipulate the faces of our friends and engage with the images in a new way?
It has been my contention that photography can teach us quite a bit about social media. Not just because there are so many photos online but because photography serves as a familiar and grounding reference point to the newness of social media. Photography situates the novel and sometimes disorienting ways we are documenting ourselves online with a technology that did the same offline more than a century ago.
I have written about Susan Sontag’s description of photographers being always at once poets and scribes when taking photos to describe how we create our social media profiles in a similar way. I have used the concept of the “camera eye” photographers develop to discuss how social media has imbued us with a similar “documentary vision.” I also described how the explosion of faux-vintage photos taken with Hipstamatic and Instagram serve as a powerful example of how social media has trained us to be nostalgic for the present in a grasp at authenticity.
Here, I want to discuss what many are calling “revolutionary” and the next “big thing” in photography: the so-called living pictures linked to above developed by the Lytro company that have just entered the consumer market with cameras shipping early next year.
Lytro “Living Picture” Technology
This is not an essay so much about the technology but instead the implications of (more…)
The recent and popular Hipstamatic war photos depict contemporary soldiers, battlefields and civilian turmoil as reminiscent of wars long since passed. War photos move us by depicting human drama taken to its extreme, and these images, shot with a smartphone and “filtered” to look old, create a sense of simulated nostalgia, further tugging at our collective heart strings. And I think that these photos reveal much more.
Hipstamatic war photographs ran on the front page of the New York Times [the full set] last November, and, of course, fake-vintage photos of everyday life are filling our Facebook, Tumblr and Twitter streams. I recently analyzed this trend ina long essay called The Faux-Vintage Photo, which is generating a terrific response. I argue that we like faux-vintage photographs because they provide a “nostalgia for the present”; our lives in the present can be seen as like the past: more important and real in a grasp for authenticity.
If faux-vintage photography is rooted in authenticity, then what is more real than war? If the proliferation of Hipstamatic photographs has anything to do with a reaction to our increasingly plastic, simulated, Disneyfied and McDonaldized worlds, then what is more gritty than Afghanistan in conflict? In a moment where there is a shortage of and a demand for authenticity (the gentrification of inner-cities, “decay porn” and so on), war may serve as the last and perhaps ultimate bastion of authenticity. However, as I will argue below, war itself is in a crisis of authenticity, creating rich potential for its faux-vintage documentation. (more…)
I have been thinking through ideas on this blog for my dissertation project about how we document ourselves on social media. I recently posted some thoughts on rethinking privacy and publicity and I posted an earlier long essay on the rise of faux-vintage Hipstamatic and Instagram photos. There, I discussed the “camera eye” as a metaphor for how we are being trained to view our present as always its potential documentation in the form of a tweet, photo, status update, etc. (what I call “documentary vision”). The photographer knows well that after taking many pictures one’s eye becomes like the viewfinder: always viewing the world through the logic of the camera mechanism via framing, lighting, depth of field, focus, movement and so on. Even without the camera in hand the world becomes transformed into the status of the potential-photograph. And with social media we have become like the photographer: our brains always looking for moments where the ephemeral blur of lived experience might best be translated into its documented form.
I would like to expand on this point by going back a little further in the history of documentation technologies to the 17th century Claude glass (pictured above) to provide insight into how we position ourselves to the world around us in the age of social media. (more…)