At a panel held at PhotoPlus Expo on Thursday, October 30, panelists discussed the various ways smartphone photography is affecting visual communication and the photography industry.
The talk, titled “Leading the Revolution in Smartphone Photography,” featured TIME magazine Director of Photography and Visual Enterprise, Kira Pollack; photographer Benjamin Lowy; visual communication strategist Stephen Mayes; and Andrew Delaney, Head of Content for Getty Images. The talk was moderated by consultant and educator Patrick Donehue.
Pollack prefaced her portion of the talk by saying that 99.9 percent of the images published by TIME in print and online were made using professional cameras. Pollack emphasized smartphones as communication platforms, noting that they are as important for consuming images as they are making them.
She described TIME‘s coverage of Hurricane Sandy in New York. TIME picture editors gave five photographers, Lowy among them, “the keys” to TIME’s social media channels and they uploaded the images they made immediately. It was an instance when the photo editors of TIME were watching the story develop “in real time,” she said. One of Lowy’s images landed on the cover of the magazine. It was the first time a smartphone image ever made the cover.
Pollack also noted that she uses Instagram to keep track of where photographers are traveling, because they often post images that alert their followers to where they are, making Instagram a tool for editors to find photographers if an assignment comes up.
She also said that TIME had recently begun working with a technology called Capture, which allows users to search for images based on date, time and location. As an example, Pollack showed a screen grab of the search she had done that identified images made in the neighborhood of Philip Seymour Hoffman’s apartment in New York City’s West Village during a two-hour stretch on the night he died.
Lowy, who has photographed conflict in Iraq and Afghanistan and elsewhere,s said using smartphone freed him from the need to carry his larger camera with him everywhere, which was liberating.
In conflict zones, smartphone cameras allowed him to move and make pictures less conspicuously. During Hurricane Sandy, as other photojournalists stayed onshore, he was able to wade out into the water with his smartphone, protected in a plastic zipper bag, and make pictures others wouldn’t for fear of ruining their gear.
Lowy also noted, however, that using smartphones in war zones can be dangerous because of the information they transmit. Bashar Al-Assad’s forced were thought to have targeted photojournalist Remi Ochlik and British journalist Marie Colvin in Homs, Syria, by locking in on their satellite phone transmissions. The journalists were killed by artillery. (The Committee to Protect Journalists has published a report, titled Information Security, that includes safety advice.)
Getty Images’ Andrew Delaney said smartphones are allowing people to capture slice of life imagery, with unique perspectives, that advertising, corporate and editorial clients are interested in. He noted that, with the proliferation of smartphones, Getty is getting a wider and more demographically diverse view of the world from its contributors. Delaney said advertisers need “localized communication and localized imagery,” and that smartphone images are feeding some of that need. He also noted that amateurs are really “leading the charge” when it comes to capturing smartphone imagery that is selling to stock photography clients. A lot of the images of people are unusable, however, because the images aren’t model released.
During his portion of the talk, Mayes pointed out that smartphones have increased the ability of the general public to look at and understand images in a more sophisticated way, a growing sentiment among image makers that I heard quite a few times during this year’s PhotoPlus conference. Photographers “now communicate with people who get what we’re trying to tell them,” Mayes says.
Furthering the “visual language” analogy, Mayes compared images to spoken and written language, pointing out that not all language is precious, and a majority of the billions of images being made are equally expendable.
Mayes also argued that an image today often acts as a “husk for a data package.” For example, an image you make of your child in your yard can, when plugged into search engines, yield information about the child’s location, education, socioeconomic status and so on. Striking an ominous-if-realistic note, Mayes argued that we might be headed for a future in which we’re all digital serfs serving information, through our phones, to a master we don’t even know.
Photographers, if they can master the ways these digital systems work, “can become the masters,” Mayes said, and argued that smartphones had opened a “doorway into a rich area of image-making and communication with a power beyond anything we can imagine at this point.” Stay tuned.
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