The Death of Photography
(Cleverly disguised as its golden age…now with selfies)
If it’s true, as Mr Jarvis would suggest, that the best camera is the one that’s with you, and the one thats with you happens to be a beautifully considered intentionally portable, astoundingly self-explanatory, highly connected work of art that almost as a side note makes phone calls, then we are all photographers.
We’re all photographers and we live in a boundless artist colony called the internet that provides us 24 hour, open-all-night, like-it-or-not feedback on our work and endless content. Some of it is beautiful a lot of it is ugly, most of it is a birds eye view of brunch. The world is our western and reaching for our phones in the new quick draw. We’re everywhere, camera in hand, getting the shot. One or two of us is bound to get lucky once in a while.
By the merit of this exposure, our eye gets keener–it holds the collective to a higher standard, it learns to turn its nose up at the overuse of flash, it edits & re-edits the “candid” shot. It mocks the stock image.
Your customer is a highly evolved devourer of visual imagery. They see your stock photography and raise you one Kim Kardashian. They know the old tricks, they’re quickly mastering the new ones and they expect more.
And even though the camera in everyones pocket ensures they’re getting the shot–the image stabilization, autofocus and 12 megapixels it’s equipped with ensures the shot will do the trick–we know what it takes to make images that people connect with. Images that capture brands. Images that translate philosophies. Images that do more than just the trick.
Our cameras aren’t just cameras. Our photographs aren’t just photographs. They’re visual feasts designed to engage and inform an educated, if not easily distracted audience.
Put the camera in the right hands.