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digital image

abstraction, AI, black + white, critical writing, digital image, water

seascapes and generative AI image making

May 21, 2024

It started when the Microsoft backed OpenAI went public in late 2022 with ChatGPT with its new technology of summarization. These new technologies, which process human generated information, are taking the form of being the newest, hottest thing with stock market speculation and investor stampede for AI startups. The hype cycle is in full swing, expectations are bubbling over into euphoria about the potential transformations.  Silicon Valley’s motto is ‘move fast and break things’.

Rolleiflex TLR
seascape+mist

This Large Language Model (LLM) is a technology that makes it cheap and easy to summarize information. They generate general purpose text for chatbots, and perform language processing tasks such as classifying concepts, analysing data and translating text. Usable maps and summaries of big inchoate bodies of information can be incredibly helpful. So are the emerging transformations in human-machine interaction with respect to text, text to images and text to video. Apple, though, appears to have gone missing as it currently lacks a publicly available generative AI product.

AI-generated images are increasingly everywhere in contemporary visual culture with lots of whispers, positive vibes on the street and wild swings in the share prices of infrastructure and software vendors as investors attempt to read the tea leaves of the generative AI market. There is  money in image-generating models. It’s akin to a gold rush.

Sony A7R111
Encounter Bay, 2023

If these cultural technologies are to have long term value, then they require reasonably high quality knowledge to keep on working. AI models are thus built on the backs of out-sourced human labor: people toiling away, providing mountains of training examples for AI systems that corporations can use to make billions of dollars. By themselves the AI do not provide a solution to the garbage-in, garbage-out problem, from the ever increasing disinformation, hallucination and fakery on the internet. So how do they get the right data with all this tainted data? How is that data protected in the applications built on top of the AI platforms? How will they address safeguards around facial recognition? Are safety culture and processes taking a backseat to shiny products?

The tectonic cultural plates are indeed shifting — eg., using Claude on the iPhone indicates that the modern chatbots allow users to now interact with computers through natural conversation–and the newly arrived flirtatious and coquettish GPT-40 that accepts visual, audio, and text input, and generate output in any of those modes from a user’s prompt or request. Creating images through innovative AI generators, such as OpenAI’s art generator DALL-E 3, or Midjourney and Stable Diffusion has become a new form of image production.

5x4 Linhof Technika IV
Encounter Bay seascape

This is based on a text prompt that then turns it into a matching image — it assembles a new images from a database of already existing ones. So the dataset is just a big scrape of the Internet, and  the current legal situation about intellectual property is incredibly murky, given that the AI companies  are using copyrighted images to train their algorithms without asking for consent or offering compensation. 

By the looks of it, AI generated images will have a big immediate impact on stock photography to the extent of replacing Shutterstock-type photography. Adobe is saying in relation to its Firefly AI generator to ‘skip the photoshoot‘, rather than enhancing the photoshoot. The political economy here is simple: Adobe gets the money as Firefly will be used to benefit their makers at the expense of others. At the moment I see the array of new generative “AI” tools to enable me to modify my photographic images as being offered solutions to problems in post-processing that I don’t have.

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critical writing, digital image

unthinking photographic culture

June 30, 2023

In this post on the Leica Poetics blog I referred to Wim Wenders view about the shifting ground of the photographic medium (as the single, static image). So what has happened to photography with networked computing?  Wenders held that photography is dead and that we need to find a new term for the digital photography in our contemporary visual culture. Digital images in this culture are images that are co-constituted with software; are networked; are driven by algorithmic analysis of the vast banks of images collated by social media platforms that   are profit-driven; whilst seeing is now platform or screen seeing. Now we hav generative AI, which produces text and images in abundance, and soon, music and video, too. As James Vincent of The Verge says the dynamics of AI is producing cheap content (AI junk) based on others’ work through scraping their content.

We are a long way from the photography and ways of seeing of the Bowden Archives and Industrial Modernity project of the late twentieth century that finished in the 1990s. The images produced by this analogue photography has been replaced by the automated processes of algorithms, data flow, big data and social networking. So we need to unthink photography; or more specifically unthink the ontology and culture of the analogue photography in the Bowden Archives, Mallee Routes or my large format photography, now that the historical period of the mechanical analogue has passed.

5x4 Linhof Technikia IV
dead grass tree, Waitpinga

This representational kind of photography in the age of the computational mode of image production is redundant, whilst still exerting an influence as an after-life. It is an obsolete medium, one which refuses to die, that has become a historical medium of heritage.

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digital, digital image, mobile phone

a digital public sphere

October 17, 2020

Two quick observations about recent trends in photography.

Firstly, the euphoria and excitement that came in with the boom in photography in the 1970s-80s isn’t really at the core of art photography now. The social context of photography is social media; social media has actually created and defined the form of art photography and I think, unfortunately, that takes it down the narcissistic route. art photography doesn’t have the importance it once had, and that’s been the case for quite a while. It’s become a facet of social media. Reading photographs consists of people glancing at the work in 10 seconds –instant consumption on literally everything.

Secondly, there is the dramatic decline in camera sales. An example:

We are seeing more declines in 2020, partly due to the pandemic but in reality, this was coming regardless of the Covid 19 pandemic. The virus has caused these decline in sales to fall at a faster rate. The future is one of fewer camera bodies being made and price increases across the board– less demand, less sales, lower profits. The dedicated digital cameras today are already a niche and they are already there due to smartphones. Not all manufacturers will survive as there are not enough people buying cameras to sustain them all.

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abstraction, critical writing, digital image, South Australia

the digital image: a note

December 17, 2019

In this post on the Mallee Routes blog I mentioned the lack of critical writing about local exhibitions in Adelaide and the crisis of independent writing about art in general. An associated problem emerges from the art gallery existing in a digital economy due to the gallery usually having a minimal online presence; a minimal presence that is especially noticeable with respect to their exhibitions. The current Mallee Routes exhibition at the Murray Bridge Regional Gallery is a case in point.

The standard convention is that there is just the odd image from an exhibition online which is primarily used to market the exhibition to the public. This means that an online viewer, in say another state, is unable to gain a sense of, or assess, the exhibition. Secondly, there is little to no engagement, dialogue or conversation with the gallery’s online audience about their exhibitions. This, in turn, means that an exhibition has a limited reach and presence. It’s here today, seen by few, and forgotten tomorrow, unless it is reviewed or there is an exhibition catalogue. The latter only happens to the mega exhibitions of superstars or global artists working in the biennial culture. 

leaves + bark, Encounter Bay

The art gallery’s low digital presence provides an entry point into a problematic about how the nature of photography is changing and the significance of these changes. We can begin to explore this through looking at the functioning of the art gallery in a digital economy. Firstly, the gallery continues its role of curating and collecting photography; a role that is designed to sort the image s to incorporate into the canon through the separation of photography as art and not-art. However, in continuing to champion photography as an art form, the curators downplay photography’s role as a reproductive technology in order to emphasise the creative legitimacy of the photographer who pressed the shutter.

Secondly, art galleries continue to rely on foot traffic to view the staging of a contemporary photograph exhibition in the white cube, grounded in aesthetic modernism. It does appear that the curators in the art galleries currently see digital technologies as either a new tool for artists to express themselves, or as a channel for communications and marketing through which new audiences can be targeted and captured. This approach to digital technology excludes is photography’s diffusion into general computing in a digital economy.  

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digital, digital image, film

the digital image

January 27, 2019

A common argument in photographic theory is that the triumph of the digital image as the contemporary form of photography forces a reevaluation of the traditional assumption of correspondence between the image and some form of reality of which it is said to be an imprint.   The argument is that digital  images that begin their life as binary data and are  driven  by algorithms  cannot be comprehended through the conventional  trinity of representation, the index and the punctum.  A major shift has taken place with the emergence of the networked image.

As a photographer I understand  the digital image to be an evolution from analogue photography: to all intents and purposes a digital image made with a digital camera  is  little different to the one that is made with an analogue camera.  I situate myself in the world in the act of photographing,  and  then I use these  working tools to construct visual representations. The  Sony a7R111 digital camera is an automated,   computational and pre-programmed tool compared to  the entirely manual Leica M 4-P analogue camera that was made in the 1970s.   The trajectory  in digital photography is towards the expensive professional high end. This  means  increased  automation,   a pre-programmed apparatus,  and more and more AI being built into the post processing software in order to  counter the competition from the increasingly sophisticated cameras in  smart phones.

Here is a digital image made with a digital Sony-a7 R111 camera:

quartz, am

Here is the analogue photograph   made with  the all manual  Leica M 4-P analogue camera.  The negative  has been scanned into a digital file and then processed in Lightroom.

The differences between the two technologies within this  logic of representation are minimal  when they are viewed on a computer screen after being edited with Lightroom software.  The object —ie., the quartz  and creek in the two images –is known to us as a representation of the object.  Photography is a process that mediates the world with the agency of light to produce legible images.  

From my perspective as a working photographer the main difference between the two technologies is evolutionary. The digital technology is more convenient to use  and  it offers greater flexibility  for  hand held photograph in low light situations–eg., at dawn.   As a photographer I continue to work within the trinity of representation, the index and the punctum, with both digital and analogue cameras.   However,   I do  realise that the image on the computer screen  made with a digital camera resembles the look of a traditional photograph  because the computational processes are currently designed by the manufacturers  to make these data packages look familiar to those working within the photograhic tradition.

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