The month of December often presents an opportunity to meet photographers from diverse backgrounds, and the conversations continue to flow. The title is a result of one such discussion, which began after a few people saw my Fujifilm FinePix F10 vintage camera. When one examines the vast history of photography, which dates back nearly 200 years, one can also see the challenges photographers faced before we reached our current state. Photography was once the hobby of the rich; a camera was beyond one’s reach. However, today paints a different picture. So, have we gone wrong somewhere in our evolution? Or are we losing our seriousness about making images?
The Evolution of Cameras
Before the Kodak Brownie, one had to visit a studio to capture a portrait of oneself or their loved ones. Inventions such as phototype postcards, carte de visite, and cabinet cards allowed one to showcase their images to guests. The exposures were long, the poses stiff, but each of these images was layered with some meaning. However, by the turn of the century, Kodak had decided to make photography accessible to the general public. While the idea was noble, little did Kodak know they would go out of business another 150 years later.
From the Kodak Brownie to 35mm cameras to point-and-shoots, we have seen a rise in image quality and quantity. By the time film was replaced with digital, little did we imagine that we would see a trillion images in just a short span of under 100 years. In fact, today, this evolution has resulted in everyone being considered a photographer. The initial gatekeeping of photography as a high art form is no longer present, but this also presents a double-edged sword that further complicates the medium. Galleries today give paintings far more preference, as they are purchased more quickly. However, when it comes to photography, one sees a few recurring names, such as Richard Avedon, Frensca Woodman, and Alec Soth, who sell better than many contemporary artists. Why is it that the work of deceased artists fetches millions, while existing photographers struggle to make a living?
Can one say that the evolution of cameras, the rise of cellphone photography, is now further altering the way we perceive the world? Or is it that because we have fewer barriers, images are now taking a whole new shape? The narratives are becoming more personal, more intimate, or more… casual. Are we still being gatekept, with only a handful of publications, galleries, and critics deeming certain bodies of work far superior to others? Cameras have made phtoography so easy. But has it helped the medium reach the pedestal that other art forms are continuously being put on?
The Second Side of The Coin
Now that we know one can easily make images, what are we doing to address the visual language? Over the past few years, I have encountered some stunning bodies of work that will either make you think or appreciate the nuances of our world. For instance, Sujata Setia’s images provide survivors of domestic violence with a space to heal through her collaborative portraits. On the other hand, Ryan Imperio showcases the wonder of an eclipse in his intense photograph. There is also Jordanna Kalman, whose images lead one to question the title of ‘female photographer.’ Sure, photographers who came before these contemporary image makers paved the way, but the kind of images we create today certainly help push the boundaries of what photography is, or can be.
However, while we have a handful of visual artists pushing the envelope, the lingering question that persists is: Who gets to decide what a good photograph is? And how often can one see these images in public spaces, beyond the confines of our screens? In fact, the kind of genres that have a chance to shine better over others is another layer of the challenge.
The appreciation for photography has been limited to a handful of styles or genres. Certain narratives that focus on political or social issues receive far more weight in a photography circle than those of a series that focuses on Art Deco in a small town. In fact, if one is looking at social media, then street and travel photographers with clinical images are the real winners.
Today, the medium is no longer about showcasing one’s feelings. It is becoming obscure, with people chasing a few trends and not much to say. And those who are learning the medium on their own often take the latter path and get lost.
So, what has the evolution of cameras taught us? A device, whether a smartphone camera or a compact camera, can help you make an image. However, the gear is merely a tool. What we do with it or how our work is encouraged further changes the trajectory of one’s path. As AI-generated photos blur the lines between reality and fiction, photographers must not only create moving images but also ones that capture the human experience, which AI cannot replicate.
Cameras will come and go, but the memories you create stay forever.