{"id":830,"date":"2023-10-10T11:38:31","date_gmt":"2023-10-10T11:38:31","guid":{"rendered":"https:\/\/everydayphotography.org\/journal\/?p=830"},"modified":"2024-01-19T09:57:53","modified_gmt":"2024-01-19T09:57:53","slug":"does-photography-have-a-future","status":"publish","type":"post","link":"https:\/\/everydayphotography.org\/journal\/does-photography-have-a-future","title":{"rendered":"Does Photography Have a Future?\u00a0"},"content":{"rendered":"\n

by Joanna Zylinska<\/a><\/p>\n\n\n\n

This text has been adapted from Joanna Zylinska, The Perception Machine: Our Photographic Future Between the Eye and AI<\/em> (Cambridge, MA: MIT Press, 2023), forthcoming. <\/p>\n\n\n\n

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I\u2019m not sure what photography is. It\u2019s everything and everywhere, like a spirit that\u2019s left its body. Photography is not tied to the camera\u2014or any apparatus\u2014anymore. As many thinkers have postulated, photography is now more of a state of being, an event. It has become a fiction; a fabrication. I know it when I see it; I can feel it in the air around me when it\u2019s happening, with or without an apparatus present. Maybe it\u2019s a statement of our surveilled and documented existences. We and the world around us are reconstituted in parallel image universes. It seems impossible to make work that doesn\u2019t use or acknowledge photography, because it\u2019s now an elemental part of being.\u00a0<\/em><\/p>\n\n\n\n

(Artist Victoria Fu in Why Photography?<\/em>) (1)<\/p>\n\n\n\n

<\/div>\n\n\n\n

Despite the proliferation of photographic images and the expansion of the \u201cphotographer\u201d designation from professionals and hobbyists (aka \u201camateurs\u201d) to arguably \u201ceveryone,\u201d the question of photography\u2019s future haunts the image-making industry, its clients, and users\u2014as well as those occupying that narrower sliver of photography\u2019s art-based milieu, i.e., photographic artists and curators. In 2019 the popular photonews website Petapixel published an article about what it meant to be a photographer at the present time. The article, as is often the case with online \u201ccontent\u201d these days, featured a video conversation between photographer-journalists from cognate websites, Patrick Hall of Fstoppers and Pye Jirsa of SLR Lounge, titled \u201cIs Photography as We Know It Dying?\u201d (2). This debate is worth looking at more closely because the issues raised by it are indicative of the broader tendencies in current photographic consumption. It also provide us with some conceptual tools and ideas for how we can talk about photography today\u2014and for how we can locate photography in disciplinary and technical terms. <\/p>\n\n\n\n

The key tendencies in photography identified by the two experts on the Petapixel website seemingly go against the grain of the beliefs held by photography websites\u2019 most faithful readers. Having acknowledged that the digital has both democratized photography and raised the bar, Hall and Jirsa admit that photographic practice itself is changing, with a lot of things \u201cfalling to the wayside\u201d: heavy gear, strobes, complex editing. With the industry moving more and more toward phone photography, \u201call that matters is the final image,\u201d they conclude\u2014a statement that must sound like anathema to \u201cserious photographers\u201d(3), be they artists or amateurs. This statement recognizes the fact that the ability to engage an audience and having a following matter more than any single image, with a photographer having to be \u201clike a TV channel or TV show.\u201d The more nebulous categories of enjoyment and authenticity are said to have replaced the old-style expectations of technical perfection and expert professionalism. Confirming that photography as we know it <\/em>is indeed dying, with that \u201cwe\u201d referring to the upholders of the photographic tradition and expertise\u2014which the core readers of Petapixel are largely expected to be\u2014Petapixel author DL Cade nonetheless summarizes the analysis on an upbeat note: \u201cAs the bar to entry drops and more and more people outsource their creativity to the latest Instagram trend or some AI-powered post-processing slider, creativity and technical know-how are only becoming more rare and valuable than ever.\u201d (4)<\/p>\n\n\n\n

The above discussion has identified some important trends with regard to photographic practice today. These trends include miniaturization; increased role of software in image making, including at the image-generation stage; closer integration between photographic gear, clothing and the photographer\u2019s body\u2014which is another step in what used to be known as \u201cmedia convergence\u201d and which now involves many photographers becoming one with their cameras; and, last but not least, the proliferation of images that are produced neither by nor for the human. (5) Indeed, algorithmic image generation enabled by models such as DALL\u00b7E 2, Midjourney, or Stable Diffusion problematizes even further the agency of the photographer as image creator and copyright owner. Echoing Paul Virilio\u2019s argument from The Vision Machine<\/em>, artist Trevor Paglen, who uses images from satellites, surveillance cameras, and AI databases in his work, argues that \u201cSomething dramatic has happened to the world of images: they have become detached from human eyes. Our machines have learned to see [w]ithout us\u2026\u201d (6) In response to the question posed in one of his online contributions written for Fotomuseum Winterthur, \u201cIs Photography Over?\u201d, Paglen goes so far as to claim that \u201c\u201cphotography,\u201d as it has been traditionally understood in theory and practice, has undergone a transition\u2014it has become something else, something that\u2019s difficult to make sense of within the existing analytic framework.\u201d (7)<\/p>\n\n\n\n

A new analytic framework therefore needs to be envisaged\u2014not just to understand photography but also to get a clearer picture of the world that is being imagined and imaged by it. Building on the legacy of ghost and spirit photography, a practice combining imagination and charlatanerie to make up for personal losses before the Great War, and collective loss in its aftermath, I suggest that photography and post-digital image making can be mobilized today to help us imagine, visualize, and frame not just the present but also the future\u2014and to image and imagine ourselves as part of<\/em> that future. <\/p>\n\n\n\n

My primary concern is not therefore so much with the ontology of the photographic image, but rather with what I am calling \u201ca photographic future<\/em>.\u201d I am mindful of David Campany\u2019s warning that, \u201cif you start attributing temporalities to technologies or platforms, before long you end up making a whole set of presumptions about how viewers interact with them. It can be reactionary and very passive.\u201d (8) I am thus more interested in what is happening to us humans<\/em>\u2014and to what we humans have called the world<\/em>, with its plethora of other inhabitants and forces\u2014as surrounded or even shaped by photographic and post-photographic images. Yet it is worth emphasizing that images cannot ever be fully discretized from our human affective, cognitive, and material frameworks and modes of framing \u201cthe world\u201d\u2014and, even more strongly, that the formation of images through perception is a driving force of life in various organisms, from people through to paramecia. Imaging can therefore be assumed to be a primary and constitutive force of life, and a condition of the emergence of intelligent behavior. In other words, I see images as existing with us humans in a dynamic relationship of mediation, being constitutive of the formation of our memory, perception, cognition, and consciousness\u2014and also of our world-building. <\/p>\n\n\n\n

My current work, including my forthcoming book, The Perception Machine: Our Photographic Future Between the Eye and AI<\/em> (from which this essay has been adapted), is designed as a reckoning with the force of the photographic legacy, imagery\u2014and imagination. It is also an attempt to re-view and re-vision ourselves as photographic agents and subjects, at a time when our future as the dominant species is being increasingly put into question, be it by neural networks or image networks, virus clouds or data clouds. There is a lot at stake in this re-vision but there is also a look to look forward too. I want to finish my short text by embracing Paglen\u2019s joyfully exuberant proclamation, one which could also be read as a warning:<\/p>\n\n\n\n

Without question, the 21st Century will be a photographic century. Photography will play a more fundamental role in the functioning of 21st Century societies than 20th Century practitioners working with light-sensitive emulsions and photographic papers could have ever dreamed. So while in one sense photography might be \u201cover,\u201d in another, it\u2019s barely gotten going. And we haven\u2019t seen anything yet. (9)<\/p>\n\n\n\n

<\/div>\n\n\n\n

Notes:<\/sup>
1 \u00a0Victoria Fu in Behzad Farazollahi, Bjarne Bare, and Christian Tunge, with Susanne \u00d8stby, eds., Why Photography<\/em> (Milan: Skira, 2020), 77.<\/sup>
2 \u00a0In DL Cade, \u201cPhotography as We Know is Changing, and it\u2019s Your Job to Change with It,\u201d Petapixel<\/em>, November 8, 2019, https:\/\/petapixel.com\/2019\/11\/08\/photography-as-we-know-is-changing-and-its-your-job-to-change-with-it\/?mc_cid=947c856268&mc_eid=5bb11290a7<\/a><\/sup>.
3 \u00a0Ibid.<\/sup>
4 \u00a0Ibid.<\/sup>
5 See Joanna Zylinska, Nonhuman Photography<\/em> (Cambridge, MA: MIT Press, 2017).<\/sup>
6 Trevor Paglen, \u201cArtist\u2019s Notes\u201d for the solo show, A Study of Invisible Images<\/em>, September 8-October 21, 2017, Metro Pictures, New York.<\/sup>
7 \u00a0Paglen did four postings for the Fotomuseum Winterthur blog under the overall \u201cIs Photography Over?\u201d title. This quote comes from posting 2, \u201cSeeing Machines\u201d, which develops ideas raised in the first posting (\u201cIs Photography Over?\u201d). March 13, 2014, https:\/\/www.fotomuseum.ch\/en\/explore\/still-searching\/articles\/26978_seeing_machines<\/a><\/sup>
8 David Campany interviewed by Duncan Wooldridge, \u201cTomorrow\u2019s Headlines Are Today\u2019s Fish and Chip Papers: Some Thoughts on \u2018Response-ability,\u2019\u201d in Ben Burbridge and Annebella Pollen, eds., Photography Reframed: New Visions in Contemporary Photographic Culture<\/em>, 2019 edition (London: Bloomsbury Visual Arts, 2019), 32.<\/sup>
9 Trevor Paglen, \u201cIs Photography Over?,\u201d posting on a blog for Fotomuseum Winterthur, March 3, 2014<\/sup><\/p>\n\n\n\n

\n\n\n
\n
\"\"<\/figure>\n<\/div>\n\n\n

Joanna Zylinska, The Perception Machine: Our Photographic Future Between the Eye and AI<\/em> <\/p>\n\n\n\n

288 pp., 6 x 9 in, 31 b&w illus.
Paperback
9780262546836
Published: November 7, 2023
Publisher: The MIT Press<\/p>\n\n\n\n

You can order the book via this link<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

by Joanna Zylinska This text has been adapted from Joanna Zylinska, The Perception Machine: Our Photographic Future Between the Eye and AI (Cambridge, MA: MIT Press, 2023), forthcoming. I\u2019m not sure what photography is. It\u2019s everything and everywhere, like a spirit that\u2019s left its body. Photography is not tied to the camera\u2014or any apparatus\u2014anymore. 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