We tend to think that manipulating images to create unrealistic notions of beauty is a recent phenomenon thanks to Photoshop and celebrity culture, but it turns out that retouching photos in order to mislead people has been around for well over a century.
If there is one type of news story that is a recurring theme in journalism it is the protest. Think "Tank Man", "The Burning Monk", or "Taking a Stand in Baton Rouge" (with Ieshia Evans). They stick in the memory, their iconographic status forming a peg from which we hang related memories. So why then are we more interested in riots as opposed to protests?
It is a truism that the rich and famous are early adopters of the latest technology. Given that photography was unleashed on the world in 1839, what is the earliest surviving photo of a US President?
Sony's not a camera company or at least hasn't been until relatively recently. Its heritage is as un-optical as any recent manufacturer can be and is certainly far removed from the heritage of the likes of Nikon, Canon, Leica, and Pentax. Yet, among the gravestones we see littering the photographic landscape, it seems likely that the A mount will soon join them, finally severing any link to the past. So, why wasn't the A mount Sony's future?
You take photos, you write books, you're published in weekly and monthly newspapers and magazines, and travel the world with the sole purpose of... traveling. You sound like one of the early social media influencers of the 2010s who was "living the dream," constantly on the road, distributing a drip of photos and articles to the travel-enthused general public. However, it's 1888, and your name is Frank Carpenter.
We'd all love to be mentioned in the same breath as our favorite photographer. Especially if that photographer is a highly celebrated master of their genre. But what happens when your image is mistaken for, and credited to them, instead of you?
Cyanotypes are a type of printmaking process invented in the 1800s by Sir John Frederick William Herschel, 1st Baronet KH FRS. What a name!
In 1980, philosopher Roland Barthes published a book that would shift our understanding of photography. Drawing on Barthes' words, Jamie Windsor asks the question: How much control do we have over our photographs?
Henri Cartier-Bresson is one of the greatest photographers of all time. What is it that gave him his style, and how would you go about recreating it? This video tries to find out.
Two of the most important artists working as photographers in the second half of the twentieth century shaped our understanding of documentary image-making, largely through their photographs of cooling towers, coal bunkers, and water tanks.
Released in 1986, children’s sci-fi adventure classic "Flight of the Navigator" was one of the first movies to use computer-generated effects, but many of the practical visual effects used are equally mind-blowing. Check out this in-depth insight into how the production team created a movie that still looks good 35 years later.
25 years ago, Sony unveiled the DSC-F1, a 0.3-megapixel digital stills camera with a rotating lens. Check out this piece of photographic history as Gordon Laing takes it on a quick tour of Brighton.
With all of our fussing over codecs and bitrates, and demanding 4K 120 fps at every latest camera release, it can be good practice to look back at where some of this technology started in order to get a bit of perspective. This beautifully edited video illustrates perfectly how the likes of Canon and Sony are most certainly standing on the shoulders of giants.
Photography can sometimes become a bit of a gear measuring contest. Who’s got the biggest lens? Which body has the most megapixels?
Photography struggles with truth as a concept. With other art forms, truth is generally a non-issue. We do not question whether a painting is real. We do not question whether a dance is real. We are generally able to discern fictional texts from nonfiction; furthermore, we’re generally able to sift through multiple nonfiction texts and combine them with our own experiences to arrive at a conclusion of truth. But not with photography.