Trends | ShotVoice

AI and Photography: Is the Medium at Risk of Disappearing?

The ShotVoice Team — Mon, 17 Aug 2026 13:19:16 +0000

According to the classical definition, artificial intelligence, known as AI, is a process of imitating human intelligence that relies on the creation and application of algorithms executed within a dynamic computer environment. Its goal is to enable computers to think and act like human beings.

Its source? The thousands, millions, billions of pieces of information shared and available on the internet. Prose texts, slang, Alexandrine verses, dialects, analyses, audits, images of landscapes, portraits, still lifes, illustrations with brushes, chalk, spray paint… it’s an XXL inventory à la Prévert that is collected and made available with just a click. This digital deluge quenches our thirst, facilitates our most refined searches, replaces us, but is it really an improved version of ourselves?

Mid Journey, Dall-E, ChatGPT

The arrival of image generators is also shaking up the codes of traditional photography. In fact, the nuance is crucial: we use the term ‘image’ rather than ‘photography,’ a distinction that is not so insignificant.

The stars of these virtual assistants include Mid Journey, released in July 2022, which, for $10 per month, generates illustrations based on simple text requests. Its latest version gained attention by publishing an image of the Pope dressed in a pristine puffer jacket. The Instagram account of a certain Jos Avery, who has shared beautiful black and white melancholic portraits, is also signed by Mid Journey. Then there’s Dall-E, followed by Dall-2 and Dall-3, each version becoming increasingly sophisticated and better at responding to nuanced requests. ChatGPT in version 4, which can also create at will. These image analysis software tools resonate with our imagination so spectacularly that some images composed by AI have even received prestigious photography awards.

An Award That Sparks Unease... Or Not

The image that won the ‘creative category’ prize from the World Photography Organization during the Sony World Photography Awards was, in fact, entirely created by AI following the precise instructions of the photographer Boris Eldagsen.

The only drawback to the celebrations is that this image was never captured by a photographic device. It is, therefore, pure fiction, composed of a blend of faces collected from the vast global database, reflecting the requested era and illuminated in the style of black and white photos taken in the 1940s.

The artist intentionally presented this creation to better denounce the fact that AI is not art, and certainly not photography. ‘These images were imagined,’ he explains, ‘by language and re-edited between 20 and 40 times through AI-powered image generators. I entered this competition with this fake image to see if competitions are willing to welcome AI-assisted works. They are not,’ he continues.

Boris Eldagsen, of course, declined the prize. His intention was to provoke a necessary reflection on photography because, for him, this creation does not in any way constitute art, nor does it align with his own perception, let alone photography. It was an engaging debate with significant implications, but the organizers dismissed it by playing the denial card. The image was purely and simply erased from the ceremony.

Another example is the Digidirect competition, organized by a major Australian photography retailer. The winning photograph was announced on their Instagram account.

Behind the pseudonym Jane Eykes is actually a company specializing in AI based in Sydney: Absolutely Ai. The photographer’s name is a nod to the 15th century artist, creator of the most stolen painting in history! The company revealed the deception but unlike the previous price, Digidirect maintained and validated its choice.
The authors of the imposture explain:

“We did this to prove that we are at a turning point with artificially intelligent technology and which poses the following question: Could an image generated by AI not only go unnoticed ? Our image never existed. Neither this particular beach nor this stretch of ocean. It’s just made up of an infinite amount of pixels, taken from infinite photographs that have been posted online over the years by anyone and everyone.”

A Postulate: Reality No Longer Has a Place in Photography

Even though we feel like there’s no turning back, that the genie has definitively escaped from the bottle, and that it still frightens us a bit, in reality, all of this is the logical continuation of all the little adjustments to reality that we’ve all practiced in the darkroom. First, by using masks for developing our analog photos or later by making use of all the image-specific applications that flooded the market for digital photography.

Photoshop, Lightroom, Luminar Neo, Topaz Labs, and others took over in the digital realm, offering us unparalleled quality and astonishing execution speed. Let’s be honest, we were already amateur sorcerers before the advent of Artificial Intelligence!

Photography as a representation of reality or the world? The image in the press is no longer inherently proof, and with AI, we’ve taken it to the next level. This questioning is abruptly swept aside by its use.

Who will be impacted on the front lines? Certainly a portion of professional photography, such as war reporters, documentarians, those witnesses of history who gauge the world to inform us. We will need to sharpen our eyes for falsifications because AI continues to enrich itself and align with reality as closely as possible. And even if the deception is exposed, unfortunately, deepfakes will have already circled the globe.

AI can also make mistakes in its interpretation. Recently, when artificial intelligence was called upon to search for photos of schools in suburban and French cities, the result was disastrous. By relying on the quantity of images taken in the suburbs recently, particularly during the uprisings in May 2023, AI thus provides a false representation of reality. As for the second request, it’s worth noting that the schools in cities resemble more of a setting from Mary Poppins’ universe than our educational institutions.

This wave called Artificial Intelligence (which some might be tempted to label as malevolent) indeed brings about a radical change.

Fur Affinity, a rebellious community, tries to reverse the process like salmon swimming against the current of the river. However, it seems that issuing warnings and establishing ethical guidelines would be more productive than directly battling against this revolutionary and inevitable advancement, as it is within everyone’s reach.

Creative Photography: The Big Winner in This Revolution?

Creativity is always based on what nourishes us. Reading, learning, artistic exhibitions (and not just photographic), travel, concerts or the music we listen to every day, exchanges, philosophy, experiences, … Picasso, Soulages, Ucello , Margaret Cameron, Giacometti, Leonardo da Vinci, Bach or Mozart, all of them too, were touched by works existing at their time and they challenge our imagination in the same way.

Creative inspiration has therefore always relied on that of others. What does AI do today? Each image designed by artificial intelligence relies on millions, billions of elements “borrowed” from as many designers to create something new and quite stunning.

The 'Post-Photography'

This term, coined by American photographer blogger Andy Adams (FlakPhoto Digest), refers to artistic practices that challenge the traditional definition of photography by combining it with other media.

Indeed, today, the creative eye, accompanied by new techniques, does the job. Artists employ and blend various processes, including photography, so it is no longer the sole instrument of creation. It becomes a tool, just like a canvas for painting or musical notes for composing music. Combined with other instruments like drawing or painting, photography offers a whole new richness of expression that delights artists today. Some are already in a middle ground as they incorporate 3D elements or painting into their photos.

Michel Redon, a visual artist photographer, is already juggling these innovations, which he considers to be true instruments in the service of his creativity.

The Birth of “Promptography”

Let’s go back to Boris Eldagsen, who has decided to name ‘promptographies’ these visual works conceived by an artist in collaboration with AI. A new type of imagery that will undoubtedly multiply in the years to come.

Sensing the business potential, Fabrice Greco, who owns a creative studio in Paris, is already offering a collection of these unique works. The visuals are printed on high-definition photographic paper, providing exceptional quality.

We are witnessing the emergence of an entirely new form of imagery. Today, those who master photography, on the other hand, no longer know how to draw like a painter. Will those who create images always need to have real landscapes in front of them or someone to create a portrait? The words of the French philosopher Edgar Morin come to mind and echo his concern about the fading of complex thinking: ‘I fear superficial intelligence as much as artificial intelligence.’

What are your thoughts on this?

Acknowledgments: Laurent Breillat (Apprendre la photo), Robin Lamorlette (Clubic), Stéphane Lecalme (Developpez.com), Michel Redon.

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Photography NFTs and the Future of Digital Ownership

The ShotVoice Team — Thu, 25 Sep 2025 14:45:19 +0000

Photography has long been a medium that has relied on physical prints and exhibitions to showcase and sell artwork. However, with the rise of digital media, photographers are now exploring new ways to sell and exhibit their work, and non-fungible tokens (NFTs) are emerging as a potentially transformative technology. In this article, we will explore the potential of NFTs for photographers, how they work, and the copyrighting aspects to consider.

What Are NFTs?

NFTs are unique digital assets that are verified on a blockchain, a decentralized and secure digital ledger. This means that NFTs can be bought, sold, and traded like any other physical asset, but they exist entirely in the digital realm.

One of the main benefits of NFTs is that they can represent ownership of unique digital assets, such as art, music, and photography. This allows photographers to sell their work as digital collectibles, rather than physical prints or exhibitions.

How Do NFTs Work?

NFTs are created using smart contracts, which are self-executing contracts with the terms of the agreement between buyer and seller being directly written into lines of code. When an NFT is created, the smart contract specifies the details of the asset, including its ownership, provenance, and any other relevant information.

Once an NFT is created, it is stored on the blockchain and can be bought, sold, and traded like any other asset. The ownership of an NFT is recorded on the blockchain, and the smart contract ensures that the terms of the sale are followed.

There are several platforms and startups that allow artists and photographers to benefit from NFTs. Some popular platforms include Nifty Gateway, OpenSea, and SuperRare. Startups such as ArtByte, Artax, and ArtVenture are also providing new and innovative ways for artists and photographers to monetize their work through NFTs.

What Are the Benefits of NFTs for Photographers?

There are several potential benefits of NFTs for photographers:

Ownership: NFTs allow photographers to sell their work as digital collectibles, rather than physical prints or exhibitions. This means that they can retain ownership of their work and control how it is exhibited and sold.
Royalties: NFTs can be set up to pay ongoing royalties to the artist, providing a new revenue stream for photographers.
Reach: NFTs can be bought and sold globally, allowing photographers to reach a wider audience and potentially sell their work to collectors anywhere in the world.
Authenticity: NFTs provide a way for photographers to prove the authenticity of their work, as the ownership and provenance of the asset is recorded on the blockchain.
Longevity: Digital assets can be preserved indefinitely, ensuring that a photographer’s work will be accessible for generations to come.

Examples of Successful NFT Sales by Photographers

In recent years, the world of photography has undergone a significant shift with the emergence of NFTs.

Photographers are now able to monetize their work in a new way by selling unique digital assets on blockchain platforms. These assets can include anything from a single photograph to a series of images, and can even include videos and 3D art.

Some notable examples of photographers using NFTs include Kevin Abosch, who sold a photograph of a potato for over $1 million, and Mike Winkelmann, also known as Beeple, who sold a digital artwork for a record-breaking $69 million at Christie’s auction house. Other photographers, such as Trevor Jones (Trevor Jones, sold a collection of his photographs as NFTs for a total of $100,000 ) and Mads Madsen, are also utilizing NFTs to sell their work and build a new revenue stream.

Andreas Gursky, whose photograph “Rhein II” sold for over $4.3 million as an NFT is another impressive example.

These examples demonstrate the potential of NFTs to revolutionize the photography industry by giving photographers more control over the distribution and ownership of their work. As the use of NFTs continues to grow, it will be interesting to see how they will impact the way photographers create, share and sell their art.

Copyrighting Aspects to Consider

One of the key issues to consider when using NFTs to sell photography is copyright. Photographers should ensure that they own the copyright to the images they are selling as NFTs, or have permission from the copyright holder to do so.

It is also important to consider the terms of use for the images. For example, the buyer of an NFT may not have the right to reproduce the image or use it for commercial purposes. These terms should be clearly stated in the smart contract for the NFT.

In addition to copyright, photographers should also consider other legal issues, such as trademark and privacy. For example, if an image contains the likeness of a recognizable person, the photographer should obtain their consent before selling the image as an NFT.

Other Precaution to Have in Mind

In addition to registering copyright, Photographers using NFTs can take several precautions to avoid infringement and issues.

If a photographer is using someone else’s work or content, they should obtain permission from the copyright owner before including it in their NFT. It’s best for artists to use original content that they have created themselves. This eliminates the risk of infringing on someone else’s rights. Keep records of their original work and any licenses or permissions photographers obtain for use of other people’s content can help to prove ownership and avoid disputes.

Photographers can also use watermarks to protect their work and prevent others from using it without permission. And they should consider seeking legal advice if they are unsure about the legality of using a specific piece of content or if they have concerns about infringement or copyright issues. Finally, it’s important to consider using a reputable NFT platform that has strong anti-counterfeiting measures in place.

Conclusion

NFTs are emerging as a potentially transformative technology for photographers, providing a new way to sell and exhibit their work. While there are several benefits to using NFTs, it is important for photographers to carefully consider the copyrighting and legal aspects of selling their work as digital collectibles.

Photos Credits: Rostislav Uzunov, Nathan Watson, Trevor Jones, Andreas Gursky, Arthur Mazi.

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Photophone Revolution: Smartphones Transform Photography

The ShotVoice Team — Tue, 23 Sep 2025 10:34:53 +0000

In the early 2000s, researchers in South Korea and Japan marketed two phones equipped with photo sensors. The Samsung SCH-V200 and the Sharp J-SH04 were the first, but images were still far from perfect (0.1 and 0.3 megapixels). In 2002, the word photophone was introduced to refer to cell phones whose sensor allows them to take high-resolution digital pictures.

The Battle Of Manufacturers

At the time, who would have thought that we would take more pictures with our phones than with our traditional cameras?

It wasn’t until 2008 that mobile photography reached the 8 megapixel bar and the subject became “serious.”

Today, about 67% of people in the world own a cell phone and use it to take pictures. According to 2020 figures, out of 1,400 billion photos taken in one year, nearly 1,200 billion were taken with smartphones.

Phone manufacturers have found that the ability to take photos instantly and to share them is a differentiating feature when buying a smartphone.

The war between manufacturers is being catalyzed by innovations in integrated cameras and the race for megapixels. Now they are devoting much of their expertise to enhancing the photo quality of their products. Some lenses offer a resolution as satisfactory as a digital camera. These innovations are all the more appreciated since images are now shared instantly thanks to the evolution of social networks. Instagram is widely used by amateurs and professional photographers alike (nearly 1 billion users per month).

Innovation in Hardware

2020 represents the culmination of this race, with the release of a 108 MP sensor for Samsung and the introduction of a brand new format for Apple. The Apple ProRaw in the iphone 12 greatly improves the quality of the pictures with algorithms (such as Deep Fusion and Smart HDR), taking advantage of the power of its mobile chips.

They are not the only ones to dominate this market, where Google and Huawei (purchaser of Leica in 2016) are also battling it out, bringing their hardware and software innovations. Now, three lenses on high-end smartphones are almost a standard: an ultra-wide angle to see very wide, a wide angle to capture classic photos, and a zoom to see further.

The photophones adapt to each use and each user. The LiDAR sensor and the distance sensor are more present in our phones. LiDAR is used to speed up focusing in low light. The distance sensor allows us to analyze the 3D environment and to know the 3D placement of the subject. This facilitates the application of innovative treatments.

For example, changing the depth of field after taking the picture, changing the lighting conditions and separating the background from the foreground – an essential operation to apply the blur of the portrait mode.

A new concept of objective has also appeared. Pixter has created lenses for phone cameras that can be added directly on the camera to improve its pictures. They are compatible with all types of phones.

The quality of cell phone photos is now much closer to that of reflex; however, they are still less sharp and less sensitive in low light, the size of sensors and optics being smaller…

Artificial Intelligence

This is where the embedded software in photophones intervenes with spectacular evolutions. Algorithms and artificial intelligence take over from optics, which remain limited by the small size of the phones. For example, Deep Fusion, a combination of images taken in bursts, improves the final image and increases sensitivity. HDR selects the best image from among three photos with different exposures and combines them to improve the contrast ratio.

Not only has the quality of cell phone photos improved immensely, software editors’ photo retouching softwares have also “entered the picture”; these integrate powerful and extremely easy to use features, often based on Artificial Intelligence (AI).

Let’s take the example of Luminar AI released in 2020. Just as embedded software in smartphones uses AI to “make” the best shot, Luminar AI analyzes the scene to suggest styles or retouching adapted to the subject and conditions. In addition, Luminar provides intelligent tools to facilitate tedious tasks that are often based on prior cropping. Replacing a sky or thinning a face becomes child’s play.

Over the last two years, the number of people retouching their photos has doubled and Lightroom, Luminar or Capture One are among the most used applications for this.

Photophones have certainly revolutionized the digital age and the way to take pictures or share them, but they will (always) be less powerful than a reflex or hybrid camera, which also evolves and integrates remarkable innovations every year.

Smartphones and DSLRs Put to the Test

If the “selfie” smile was the inevitable pass to the “like,” other expressions come to heckle this good old expression of happiness. So, forget the smile (considered a bit old-fashioned), and make way for the Duck face, the mimicry that consists of tightening and advancing the lips while drawing the cheeks in.

But hurry up, because this Duck Face is about to be dethroned by the Sparrow Face, the latest little revolution from Japan, which consists of opening your eyes wide and your mouth like a chick waiting for a meal, all accompanied by a V for victory.

The Best Camera for You...

The comparison between the two types of devices is not necessarily relevant to the point, however. The goal of the new technologies embedded in photophones is to allow everyone to make the most beautiful pictures possible without being an experienced photographer.

This camera starts taking pictures even before we press the shutter button and chooses the best one. It is not only always with us, but it also goes faster than we do. So, users of photophones are not necessarily looking for optimal photo quality but enough to capture a moment, create and share memories.

"The Best Camera Is The One That’s With You”

Chase Jarvis

Link: The Best Camera Is the One That’s with You by Chase Jarvis

Photo Credits: Jayson Hinrichsen, Rodion Kutsaev, Lukenn Sabellano, Cyril Caiazzo,Daniel Gold, The Registi and Pixter.

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Shifting Boundary Between Photo and Video: Trends & Insights

The ShotVoice Team — Tue, 07 May 2024 16:56:47 +0000

While the characteristics of a camera or a video camera are easily definable, there exists a certain porosity between these mediums, between still image and moving image. Several elements come into play to create this unexpected conjunction.

Are Smartphones the Best for Photos? The Phenomenon of Phoneography

The digital world has revolutionized techniques that approach imagery, both in the production and post-production it offers, as well as through the instruments that render them. Smartphones initially integrated the Photo app as a fun additional feature, and then video quickly followed suit, even though these functions didn’t seem, at first, to be decisive in the act of purchasing a smartphone.

But the enthusiasm among the general public is such that smartphone designers have continued to enhance the performance of these integrated tools dedicated to imagery. Each brand boosts, with each model, the number of pixels, multiplies the optics, and increases the possibilities of working with one’s image because, indeed, photography proves to be a major asset for the mobile phone. It’s a small revolution that professionals call phoneography, it’s the skyrocketing ascent of image integration in mobile phones. Today, 74% of French people own smartphones, and the success of these image-related functionalities has still not been denied.

Every smartphone release is now scrutinized, and users’ choices among Apple, Samsung, or Huawei are dictated by the ever more amazing quality of photo and video capture. A case in point is Apple’s star presentation of the iPhone 11 Pro, which features a triple optical camera system with stabilizer and 10x zoom. The integrated video of this cutting-edge smartphone is equally impressive with its 4K image format and its mind-boggling technical peculiarities, to put even the most advanced camcorders on the current market to shame.

As a result, photography and video have become increasingly prevalent in our daily lives. In the United States, the average person is estimated to take 20 photos per day. By 2022, video accounted for a staggering 82% of internet traffic. Consequently, the creation of photo and video content has assumed a pivotal role in the digital landscape. Managing this influx of visual media has become a significant challenge.

Photography and videography now dominate our lives, with 2.6 billion people watching YouTube every day. This trend hasn’t gone unnoticed by businesses, as 88% of marketing teams now consider video to be a crucial component of their strategy.

Smartphones for Video: Transforming the Landscape of Visual Production

The quality of shots, the variety of image textures, or the atmospheres offered have exploded the use of video and photography. Even our relationship with images has been altered. Taking a photo with a pocket phone has thus induced fundamental changes in our relationship with images. Today, we take a photo as we grab a pen to memorize an idea, a moment, a situation, a face, or to take a selfie in a given situation. The image has become an obvious ingredient in our daily lives, even addictive.

Platforms like Instagram or Snapchat, followed by more than a billion and a half active users, testify to the incredible success of using images in our everyday lives.

This is also explained by the easy-to-use functions of Photo and Video. Intuitive, they are aimed not only at image specialists but at everyone, and the results are staggering. The arrival of selfies is a striking example. The situational self-portrait has infected the entire planet. Not a politician, a celebrity in music, cinema, fashion, industry, space, business, sports, etc., who does not engage in the game of personal or collective photographic exposure.

The quality of image rendering is so impressive that it even convinces professionals like investigative journalists who now frequently go on assignments with this multifunctional, hybrid, much lighter, and discreet equipment… which sometimes allows newsrooms to save on a cameraman position.

Film directors have even tried the experiment of making feature-length or short films with just an iPhone, like “Unsane,” “Paranoia,” and “High Flying Birds,” Steven Soderbergh’s three feature films, or “Détour,” the short movie directed by Michel Gondry.

The Best Video Cameras: Canon, Nikon, Leica, Sony Enter the Market

The behaviors towards this cost-effective digital photography, with no development costs and immediate results, have attracted renowned camera brands. In the first wave, we saw the emergence of digital cameras with ultra-performance qualities. Then, a second generation quickly entered the market with the addition of video functionality integrated into these professional cameras. Video cameras are hybrid devices that offer two features in one instrument. Two image options: mobility or capturing the moment.

Advantages of DSLRs for Video: One Medium, Two Narratives

Whether with a smartphone or a professional camera, we now have a device for both mobility and still imagery. It’s like having the same pen but using different grammar. For photography, it’s the still frame that provides the framework, while for filmmaking, the basic unit is built around movement. It borrows a specific articulation from cinema while incorporating the rules of photography.

With the hypertrophied use of photo and video, new behaviors emerge along with proposals that could not have arisen without this intended porosity, desired by some.

What is a Cinemagraph?

One of the first trends that we saw emerge, after the phenomenon generated by phoneography, is an artistic compromise that combines photo shooting with an animated dimension affecting only part of the picture. The cinemagraph is halfway between a GIF and still images. They are frequently used in visual marketing, to enhance websites or even digital fashion photos.

It’s impossible not to mention the pioneers of cinemagraphs, Kevin Burg and Jamie Beck, who utilized it during a model session by simulating wind on the drapes of clothing to add more liveliness.

Advertising, gastronomy, fashion, decoration, all sectors borrow from this technique that offers unparalleled dynamism to images.

What Vlog Means?

On the video side, phoneography also inspires astonishing creations. We quickly saw the emergence of new professions like influencers who have their phones attached to their hands 24/7, ready to capture any moment to comment on their actions or promote a product, a phenomenon known as vlogging.

It’s a full-fledged video format. A relatively short “face camera” video broadcasted exclusively on social networks like Twitch, Snapchat, Instagram, TikTok, Facebook, or YouTube, Vimeo, or Daily Motion channels. These video clips frequently include photos as well. Here too, the combination of the two mediums complements each other perfectly.

Phoneography, as we see, is a phenomenon significant enough for contemporary art to take interest and for galleries or museums to open their doors to a whole new generation of artists using this method.

Photography and Videography: The Artistic Approach

When do we use one, when do we use the other? Each medium has a distinct interpretation, and when combined, it offers a third interpretation that is increasingly appealing. Some visual artists have already seized upon this, like Katia Maciel, a poet and filmmaker, who conceives artistic interventions by playing, mixing, and juxtaposing still and moving images in diptychs, truly exploring the frontier between photography and video.

With “Répétitions,” the artist takes advantage of the encounter between movement and stillness. It’s not about “animating the still,” but finding a trace of movement in the frozen image. Indeed, “there is always movement, even in photography, in painting, one can see something moving, even if it’s just the air.”

Let’s mention another artist who also explores the world of animated GIFs, François Beaurain. A photographer turned visual artist, he is renowned for his pioneering work with animated GIFs. He has exhibited at prestigious events such as the Guggenheim Museum in Bilbao or the Rencontres de la Photographie in Arles.

“I took this image in the suburbs of Marrakech, where I realized there were many construction projects like this one, here called The Villas. (…) I am very sensitive to human intervention on nature. This place is very unique because, in fact, the city surrounds it. This space has been somewhat forgotten amidst the surrounding constructions.

What’s interesting about GIFs is that I can ask people, passersby to participate. I always have two or three GIFs in my bag, I show them what it can look like… it sparks discussion. In terms of dissemination, this technique can pose problems because it’s naturally impossible to reproduce the motion effect on paper. I did try with lenticular printing, but it doesn’t compare.”

And You? Are You More Into Photography or Leaning Toward Video Trends?

A breathtaking landscape is best appreciated through a beautiful panoramic still shot. In video, a single shot doesn’t exist and finds its best expression in action scenes like a car race, food preparation in the kitchen, or a choreographed rehearsal. The central focus is on movement and movement alone, with three possible variations: the subject moves while the camera remains still, the camera moves while the subject is stationary, and both camera and subject move together.

So, which side of the mountain are you leaning towards? Unless you prefer the summit, and depending on your mood or circumstances, you’ll choose the most suitable medium because it’s true that one may naturally prevail depending on the context.

Mathew Brogie, Average Number of Photos Taken Per Day Around the World, Repsly, 2021.
Source: Wyzowl, 2024
“How Smartphones Revolutionized Photography” by Marlène Joseph .
https://www.blogdumoderateur.com/etude-le-numerique-en-france-en-2019/ .
François Beaurain, interview by Focus Numérique (Nadia Ali Belhadj)

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Intoxication of Smartphone Photography: Trends and Impact

The ShotVoice Team — Tue, 26 Dec 2023 16:14:18 +0000

Photography has become a part of our daily lives thanks to smartphones equipped with the camera function in the 2000s, and it has continually improved in the face of its frenzied use, catching everyone somewhat by surprise.

This ease of capturing images has profoundly altered our behaviors. One could even speak of an addiction to images for certain generations. Some twenty years later, our attitude towards this tool has caused such changes in how we perceive the world that our very brains have been shaken by it. But why do we have such an urgent need to take so many photos? Have we lost trust in our memories? What defenses can we put in place to ward off this smartphone photo intoxication? Like any excess, there are certainly some good practices not to be neglected to set things right.

New Tool, New Habits

With a smartphone permanently attached to our hand, our actions today are heavily dependent on this device. It must be acknowledged that the playing field is vast and constantly fueled by increasingly powerful innovations. How can one not be seduced by this object that allows us to view the world with such breadth? The continually improved image quality of the built-in camera, the array of apps for exploring and transforming photos, all of it is equally mind-boggling. It’s a complex world that keeps pushing the boundaries of reality: offering incredible clarity to old photos, removing unsightly elements from a picture, adding a sunny light to a stormy sky, erasing wrinkles, smoothing a face – we are like apprentice sorcerers, and we love it!

Photography has become as essential today as a pen in one’s bag. A fender bender in the car, a replacement part for the coffee maker, the candles blown out by your godchild, the first snowfall in the garden, the damage caused by a storm, the recipe found in a magazine – one click, and it’s saved and stored as a reminder. An American study confirms this new behavior towards photography: Americans take more than 10 billion photos per month, and 60% of them are taken with smartphones! Photography has taken on a new dimension far removed from the rare, meticulously crafted, and artistically conceived photo. It has become our memo pad.

But doesn’t this excessive use sometimes lead us astray? Today, it’s impossible to approach the painting of the Mona Lisa at the Louvre Museum or to appreciate Mick Jagger’s hip-swaying performance at a concert without the forest of smartphones held high in the air.

What has happened? Have we lost faith in our eyes to capture the moment? Is the image meant to replace our memories? Has it become a crutch for our memory? Do we truly need to rely on this transitional object that is the smartphone? By constantly relying on photography, by placing all our trust in it, isn’t our memory starting to waver?

Philosophical Perspective

French philosopher Raphaël Enthoven has delved into this question. He takes the example of a photo that immortalizes the basketball star LeBron James making a crucial basket, becoming the top scorer in the NBA. In the background of the photo, the faces of all the people in the audience are obscured by the smartphones they are holding up to capture this pivotal moment.

“It’s an extraordinary sporting moment,” explains Raphaël Enthoven, “and the spectators sacrifice the experience they could have of this historic moment in favor of the possibility of saying they were there. It’s both a way to distance oneself from the world because by photographing it, one keeps a distance from it, and it’s also the act of entrusting an object with the task of remembering it for us.“

By interposing the mobile phone between themselves and the game, the audience thus deprives themselves of fully living this moment, with the priority shifting to preserving the memory. It’s a true denial of the present. People prefer to film the shot rather than applaud it.

This also reveals another significant issue: in life, it’s often more challenging to experience things than to be filmed experiencing them. The danger lies in self-observation: if we watch ourselves do something, we lose control over what we are doing. Taking a selfie surrounded by a magnificent backdrop or next to a K-Pop star hinders action. Only self-forgetfulness allows us to act, savor, and fully immerse ourselves in the moment because we are entirely present in what we are doing. As the philosopher and humanist Montaigne wrote, “When I dance, I dance, and when I sleep, I sleep.” Therefore, the selfie is the opposite of this behavior.

What Does Science Say?

Scientific studies go even further. They concur in saying that when we rely on a transitional object like a smartphone to capture an event and entrust our memories to it, our memory eventually deteriorates.

Our obsession with high consumption of photography can precisely impair reminiscence. It can lead to a loss of the ability to imprint the intensity of a moment or information within ourselves. Catherine Loveday, a neuropsychologist at the University of Westminster, explains that it has been proven that taking photos at an event instead of fully immersing oneself in it can lead to an inability to remember the event itself. Taking photos genuinely distracts us from the memorization process.

The issue also applies to selfies taken incessantly, characterized by portraits that lack spontaneity and feature artificial expressions. These photos, with their unnatural narcissism, aim to show what we want to show about ourselves but not who we truly are, as explained by Giuliana Mazzoni, a Professor of Psychology at the University of Hull (UK). It goes even further: “If we rely heavily on photos to remember our past, we risk creating a distorted self-image, based solely on the images we want to share.“

“If we rely heavily on photos to remember our past, we risk creating a distorted self-image, based solely on the images we want to share.“

Giuliana Mazzoni

Photos: Vessels of Our Memories

Once these philosophical and scientific observations are on the table, it’s important to understand that while we can’t turn back the clock or unravel technological advancements, it is crucial to find the key elements that will allow us to harness powerful technologies without impairing our cognitive abilities.

It’s true that when we take a photo, our brain pays less attention to recording events, as if it unconsciously delegates the task of photography to memory. Conversely, looking at, for example, old travel photos or pictures of our young children instantly rekindles memories. Claudia Zimmer, co-founder of CYME alongside Matthieu Kopp, makes this observation: “When I revisit certain photos taken unintentionally, I feel that I didn’t experience that moment as intensely as I could have, and these rediscovered photos today allow me to do just that—to savor that moment even more, to reconnect with a past I had completely forgotten. As someone with not as much memory as Matthieu, I recognize the tremendous utility of a smartphone for these deeply moving moments that had escaped me.” Let’s acknowledge the mysterious and somewhat psycho-magical power of images, which are, in their own right, very real.

Realm of Immaterial Memory

In the previous decade, photo albums served as the imprints of our personal history, and reunions with grandparents often involved flipping through year-arranged photo albums. Today, the smartphone, aided by “the cloud” (the intangible repository of our data), replaces these physical and indivisible family photo collections. Digital photography frees us from constraints, allowing for original duplications, editing, sharing, sending, and storing all our images.

“In fact,” as Raphaël Enthoven summarizes, “we photograph people, places, or events not to ensure that we don’t forget them, but to be sure that we can forget them since these images will be somewhere.” This “somewhere” mentioned by the philosopher deserves attention because it sometimes resembles a true black hole. Once the photos are taken, they are automatically saved on your smartphone or in the cloud (if you have a subscription to it). While we may find comfort in this XXL virtual memory that compiles our life, how many of us actually consult this personal image bank, which sometimes contains over 50,000 photos?

“We photograph people, places, or events not to ensure that we don’t forget them, but to be sure that we can forget them since these images will be somewhere.”

Raphaël Enthoven

The Only Gateway: Reviving Your Catalog

Who looks at their archives in their smartphone today? How much time do we spend scrolling through our device to find a specific image? It’s a jumble of images, a kind of illustrated dumping ground where the most diverse subjects intersect: those close to our hearts alongside yesterday’s grocery list or the pair of shoes we’re sending to our best friend. How do we organize this visual overload? Can we rein it in to make it truly efficient?

It’s with this issue in mind that Claudia Zimmer and Matthieu Kopp have envisioned software solutions to rediscover the joy of exploring our photos. Let’s mention Peakto, an application supercharged by artificial intelligence, compatible with other applications like Lightroom, Luminar, Capture One, DxO, Pixelmator, and many more, which gathers all our images into a single catalog, even in different formats. It categorizes them, removes duplicates, organizes the originals and their various versions, making it easy to find the photos we’re looking for.

Photographic Abstinence

After organizing one’s image collection in a manner reminiscent of Marie Kondo’s videos, another suggestion in the face of this photographic deluge is to abstain, willingly or forcefully.

One can indeed choose to use their camera function in a measured and deliberate manner, akin to the time when buying expensive rolls of film, where each photo was carefully considered. Regularly deleting obsolete or uninteresting photos can also help prevent unnecessary clutter in your catalog (waiting rooms are perfect for this kind of exercise).

Not using your camera out of obligation: Some artists today refuse photos and selfies at their exhibition or performance venues. The reasons are many and often justified, such as not wanting to circulate low-quality photos of an artwork, with the artist wishing to maintain control over the reproduction of their work.

And then there’s this well-intentioned plea for photographic abstinence to rediscover the path of observation and memory. For instance, architect Tadao Ando on Naoshima Island, who forbids visitors from taking photos to immerse them in his world and provide them with an experience. Or sculptor Anselm Kieffer, who, in his creative workshops, expresses the desire to reconnect with the emotions evoked by the artwork and the memories that will be engraved in our minds. These artists invite us to spend time simply looking. Iconic landmarks now encourage us to take the time to admire them rather than photographing them. In Italy, the Sistine Chapel in the Vatican, St. Mark’s Basilica in Venice, or Michelangelo’s David refuse to be bombarded with photographs. In the United Kingdom, Westminster Abbey and the Tower of London adhere to this rule as well. Even Lake Tahoe in the United States prohibits all photography, especially selfies, due to the dangerous poses people attempt.

The Right Attitude

So, what is the right attitude to adopt? Take the time to take photographs: let them be an opportunity to pause and fully immerse oneself in a place, an atmosphere, or a person. Look at our photos more often, and especially, share them. Viewing images is a way to strengthen and consolidate our memories and to remind us of the stories embedded behind each image. Placing photography in its proper context, setting limits, is also a gift to ourselves, allowing us to reconnect with the emotions etched in our memories. Letting the mysterious reappear and sharing with others the emotions felt during a meeting or an exhibition instead of showing a 2D file or image. Do you agree with this analysis?

Mention:

Brut – Interview with Raphaël Enthoven

Eric Leser – Slate.fr

Anne-Marie Hamel – Documentary Photography as a Memory Aid for American Feminine Identity (1920-1960) Thesis – Montreal (Quebec, Canada), University of Quebec in Montreal.

Giuliana Mazzoni – The Conversation – Our obsession about taking photography

Catherine Loveday – Neuropsychologist at the University of Westminster

Photos:

Andrea Piacquadio; Austin loveing; Harrison Haines; Hoch3media; Mika Baumeister; Sami Abdullah (main picture); Zac Ong

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Salon de la Photo 2024 in Paris: What to Expect This Year

The ShotVoice Team — Wed, 04 Oct 2023 15:34:20 +0000

The world of photography is in a continuing transition. As traditional photo shows decline in popularity, the digital wave is surging ahead. Now, speaking of noteworthy events, we have the “Salon de la Photo” taking center stage. Happening this week in Paris, it’s a big event for photography enthusiasts. Notably, it stands out as the largest pop-up photo/video studio in the city. Catering to photographers, videographers, and content creators, it offers a platform to showcase talent, draw inspiration, and promote learning.

As we explore this, we’ll also touch upon the challenges today’s photographers encounter and shed light on the emerging trends that are setting the stage for the future.

Photography Exhibitions Crisis

As the Paris “Salon de la Photo” gears up for this year’s edition, it’s clear that not all photography-focused events have managed to keep their footing. Consider Photokina, for instance. This major event, a beacon for photography since 1950, has unfortunately shut its doors. This is particularly surprising when you see other art forms weathering the storm, even amid economic downturns and the challenges of COVID-19.

Photokina was truly a highlight in the photography world. It showcased everything from the latest gadgets to new techniques, drawing both seasoned professionals and hobbyists. Yet, after a solid run of 70 years, it came to an end, with the pandemic playing a significant role. However, it’s crucial to note that the signs of struggle appeared even before COVID-19 made its mark. By the time 2020 rolled around, the decline was evident, and not just for Photokina. Many revered photo galleries worldwide are also facing challenges, with some closing their doors for good.

There’s a noticeable shift in how people engage with photography. Some argue that photo exhibitions have become somewhat repetitive, hinting at deeper issues in their appeal. Furthermore, the newer generation of photographers seems more inclined to showcase their pieces on digital platforms like Instagram, moving away from traditional gallery spaces.

Another factor that can’t be overlooked is the rising prominence of videography. With advancements in technology, capturing high-quality videos has become more straightforward, drawing many into its fold and, in some ways, overshadowing traditional photography.

To add to this, there’s been a staggering drop in camera sales over the past decade, plummeting by 93%. This data, provided by CIPA (Japan’s Camera & Imaging Products Association), underscores the profound changes occurring in the global photography scene.

The Evolving Landscape of “Salon de la photo”

This year’s “Salon de la photo” certainly feels different. Big players like CEWE have taken a step back, and notably, Whitewall and Hahnemühle are absent too. When you add it up, there’s a distinct change in the atmosphere.

Not only that, but some of the industry’s leading photography magazines have decided to skip this year’s edition, further emphasizing the shift. It raises the question: what’s happening in the background?

Digging deeper, a trend emerges. A lot of companies, ranging from photo printers to photo editors, are making a beeline for the digital realm. Brands such as Adobe, Skylum, and CYME for instance, are now channeling their energies towards platforms like social media, YouTube, and webinars. It’s clear they’re trying to resonate with photographers and enthusiasts in spaces where they’re most active.

Moreover, while traditional training hubs remain intact, the online landscape is bustling with new opportunities. There’s a burgeoning wave of online courses and communities that seamlessly blend user-friendly access with innovative learning experiences.

Photography is changing big time. It’s not just about new gadgets, but how we learn and connect with others. Simply put, the future is going digital.

Newcomers to the “Salon de la photo”

The photography industry hasn’t escaped the digital revolution and the rise of social media. Today, integrating influencers and content creators into the Salon de la Photo adds invaluable value. New figures like Bruno Maltor, Olivier Schmitt, Pile et Face, Béatrice The Quirky, and the French Wanderers or JC Pieri bring a fresh and authentic touch to the event, allowing visitors to dive into their creative worlds.

Direct interaction with these influencers gives photography enthusiasts a unique chance to learn, share, and be inspired, creating a personal connection with content creators. The Salon de la Photo thus becomes a meeting point between the technical knowledge of traditional photographers and the innovative creativity of influencers, fostering a rich exchange that goes beyond the boundaries of photographic art.

The Dynamic Evolution of Modern Photography

Photography is undergoing a rapid evolution. With the rise of phones and drones, capturing candid, authentic moments has become the new norm. This shift isn’t just about tools; it’s about approach. As many traditional methods fall by the wayside, a new generation of self-taught photographers emerges. They aren’t just content to click and edit; they’re leveraging social media platforms for both showcasing and networking.

But there’s another layer to this evolution. Many of today’s photographers are intertwining their art with pressing global issues. Through compelling visuals, they highlight the beauty of our planet and the stark realities of climate change, fostering a deeper public understanding of these critical matters.

And it doesn’t end with the artists. On the business side, the game is changing too. As we journey further into the tech era, companies are either adapting or emerging with a strong focus on the latest innovations. Features like cloud storage, AI-driven photography tools, and advanced devices are streamlining the photography process. It’s clear that the industry is at an exciting crossroads, merging tradition with modern innovation in a seamless dance.

Conclusion

Photography is like a rollercoaster; it has its highs and lows. At the “Salon de la Photo,” this evolution is on full display, bridging the gap between the past and the present.

Today’s generation is diving into photography with unmatched enthusiasm. Not only are they capturing moments, but they’re also creating stories through videos. With the rise of platforms like Instagram, TikTok, and YouTube, their work gets a spotlight like never before. This seamless transition from clicking to sharing amplifies their creativity to a global stage.

In essence, the ongoing fusion of old and new techniques is paving the way for a dynamic future in photography. Events like the Salon de la Photo show that the art of photography is evolving in exciting ways.

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Apple WWDC 2023: Key Announcements for Creators

The ShotVoice Team — Tue, 13 Jun 2023 13:52:49 +0000

Apple’s Worldwide Developers Conference (WWDC) 2023 has just concluded, and the CYME team emerged from the event buzzing with excitement. We were thrilled to delve into the array of captivating announcements and remarkable advancements unveiled by Apple. The event showcased a plethora of new technologies and updates that have interesting implications for photographers and the development of CYME’s photo software, Peakto and Avalanche. Join us on this thrilling journey as we unveil the highlights from WWDC 2023 and the great implications they hold for photographers and the evolution of CYME’s visionary tools.

A Glimpse into a New Reality: VisionOS - The Headset

Undoubtedly, one of the most groundbreaking revelations at WWDC 2023 was the introduction of Apple’s Vision Pro headset. The CYME team found this development to be truly inspiring as it offers a glimpse into the future of photo applications. The ability to immerse oneself in a virtual environment to explore, select, compare, and organize photos is an incredible experience that could revolutionize the way we interact with our visual memories.

Small Revolutions with Big Impacts

WWDC 2023 also brought forth several smaller yet impactful advancements that could greatly benefit CYME’s software offerings.

HDR Support and Raw File Handling

Apple’s commitment to enhancing HDR capabilities and supporting raw files with superior dynamic range caught the attention of the CYME team. We believe that being able to fully leverage the magnificent HDR screens and work with raw files can lead to remarkable improvements in the visualization and editing of photos.

Animal Pose Detection in Vision

The CYME team sees great potential in Apple’s introduction of animal pose detection in Vision. This feature opens up exciting possibilities for animal tracking in photos.

CoreML Advancements

The advancements in CoreML announced at WWDC 2023 offer new opportunities for CYME’s AI capabilities. With improved image understanding and text-based tasks, the team foresees being able to do more and better in AI-driven features.

iCloud Sync and SwiftData

The future of Peakto looks promising, thanks to the advancements in SwiftData and iCloud sync. SwiftData, a framework for managing data within apps, provides features like relationship management, undo/redo support, and iCloud synchronization. This opens up possibilities for seamless synchronization of photos across devices through iCloud, enhancing the overall user experience.

Conclusion: An Exciting Path Forward

While the CYME team basks in the glow of Apple’s WWDC 2023 and the remarkable advancements it holds for photographers, there remains a tinge of regret regarding the lack of substantial improvements to Photos and the APIs for interaction with Photos. As ardent enthusiasts of visual storytelling, the team had hoped for enhancements that would further elevate the photo management and editing experience. Nonetheless, this slight disappointment is overshadowed by the overwhelming excitement generated by the myriad of other breakthroughs and possibilities presented at WWDC 2023.

With unwavering determination, the CYME team is committed to pushing the boundaries of Peakto and Avalanche, continuously refining their software to deliver an unparalleled photography journey for all. Together, CYME and Apple forge ahead, driven by a shared vision of making every moment captured a masterpiece of delight and inspiration.

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Creativity in Containment: How Photographers Adapted

The ShotVoice Team — Wed, 24 Mar 2021 15:23:40 +0000

Crisis, COVID-19, containment…How can people keep in touch, have fun and above all remain creative during this period?

Discover how those involved in photography have reinvented the profession, developed new creative ideas, and even managed to revive the world of photography, which has been largely forgotten during this crisis.

Creativity Is Born Out Of Constraint

Ideas, reflections and challenges have been born during this long period. In order to counter their boredom, professional and amateur photographers decided to create in different ways, taking into account the constraints of confinement, the impossibility of travel, very limited travel…

Focus On Oneself

The confinement has allowed a few people to refocus on themselves and to photograph themselves, creating original self-portraits with settings representative of today’s world. Several artists and amateurs took up the challenge of taking pictures of themselves in each room of their house or living space, and shared the idea on social networks, the new digital exhibition space.

Deserted Streets…A New Space For Exploration

Some wanted to immortalise the deserted streets and wide boulevards to give an apocalyptic side to the crisis, or to show how when Man is no longer there, nature takes back its rights. Striking images, notably of a photographer in the Pays de Gall facing 5 goats walking on the pavements and passing in front of a wool shop…This photograph shows us that the frontier between nature and Man is really minimal.

Everyday Life Revisited

Others captured moments of daily life transformed by social rules. For example, banal scenes of family life became subjects of photographs. Photographing outdoors or indoors, the tendency was also to take pictures of scenes of life through a window.

The Confinement Or Democratisation Of The Photographic Gesture

According to Yvan Plantey, journalist of France Culture, containment has become a source of inspiration for almost anyone with a professional camera or a mobile phone. Photographers have shown that inspiration can be found even when enclosed between four walls, and that the interior is a place where one can create, dream, and above all, compel other people to dream.

Challenges And More Challenges: A Collective Experience

Another ray of light during COVID confinement has been the challenges: several companies, organisations and bloggers/youtubers have proposed photographic and video challenges, both with and without rewards.

Let’s take the example of Go-Pro, which proposed an online competition open to all and to all countries. It consisted of sharing one’s best photos or original (extravagant) videos on the main social networks — Facebook, Instagram, Twitter, YouTube, TikTok — accompanied by the hashtags #HomePro and #GoPro.

Participants in the GoPro Challenge were able to express their creativity with slow-motion, stop-motion and real-time content. Whether it was science, music or anything else, the internet users were present and really enjoyed putting themselves on stage during their activities or everyday life, in an original way in their environments and places of confinement. Many people who were unable to travel or do their outdoor activities invented and put in place tricks to be able to practice them in a different way and share them with others thanks to the photos and videos published on social networks. In particular, Philippe Klein’s stop motion descent inspired many, and the #inspiredbyphilippklein was born.

Here are a few videos that have been made:

Travel photographer Jonathan Bertin, also a youtuber, also issued a challenge. Stuck at home, he came up with the idea of building the project #ConfinementCreatif, a movement that encourages people to express themselves artistically while staying at home. It’s a whole new challenge for him since he’s used to traveling, outdoors and the great outdoors!

To launch this challenge, the photographer took part and photographed himself in his flat taking his self-portrait. The challenge was to make a photographic series. This contest attracted more than 400 participants (pro, amateur and beginner) and in the end, several people were rewarded.

With these challenges, companies and photographers help us to adapt, and accompany us in changing our habits. In doing so, we are guaranteed to have fun and create while being at home.

Interacting At A Distance / Relationships At A Distance

In this turbulent world, social networks are a place to keep in touch with friends and family, to get information and to have fun. According to the Global Digital Report’s study, during containment, social network users have reached 4 billion worldwide and the time spent on social platforms has increased by 15%. In addition, the Instagram and Snapchat platforms have greatly increased their number of new users in the 3rd quarter of 2020. By the end of 2020, 53% of the world’s population was using social networks.

Instagrammers are noticing this increase in popularity: publications are getting more visibility. Interactions between influencers and their community have also increased. As a result, the use of social networks to launch challenges is essential. They allow internet users to sometimes overcome the loneliness of isolation and to stay informed about what is happening through photo trends. Sharing content on social networks also allows for high visibility across all countries. The photos and videos published and the hashtags used create links between users. These new spaces for virtual exhibitions of works and creations aim to showcase culture beyond physical borders and allow access to all. The virtual exhibition no longer has a physical location, but this does not deprive it of visibility. Moreover, as it is registered by users, it remains frozen in time.

Birth Of Challenges For Entertainment

During the confinement, a lot of “fun challenges” were created on social networks, notably on Instagram, a social network dedicated to photography and video. Internet users do not lack imagination, inventing all kinds of entertaining content that anyone can enjoy and contribute to!

One very entertaining challenge has inspired the whole world. The Getty Museum in Los Angeles launched a challenge on Instagram to recreate well-known works of art at home. These “homemade masterpieces” made with sheets, pins and toilet paper to represent the decorations were very much appreciated by Internet users. Launched in March 2020, the #GettyMuseumChallenge now lists almost 55,000 publications. There are numerous representations of emblematic works, from offbeat versions to “works of art” very similar in style to the originals.

In the same spirit, the @tussenkunstenquarantaine account invites followers to take pictures of themselves in recreations of their favourite works. With more than 271,000 followers, the challenge was relayed with the hashtag #TussenKunstenQuarantaine by many French museums such as the Palais des Beaux-Arts in Lille and the Musée d’Arts in Nantes. The results were just as appealing as the originals…The real artist is not necessarily the one you think it is!

Another photographic and artistic challenge was launched by the Maison Européenne de la Photographie, around the theme of #OpenWindow and #WindowOverOther. These challenges consisted of taking a photo of the view from one’s window and someone else’s window. They each resulted in 22,878 publications and 15,931 publications. By sharing their “view on…”, the web photographers invite other web users to travel through their photos. Who wouldn’t dream of a beautiful view of the sea or the mountains?

Also, To “Pamper” Yourself And Do A Good Deed Is Possible!

The “My Fashion Week Quarantine,” a fashion and photo challenge, was quite a sensation. All you had to do was take a photo of yourself during a “typical” confinement activity (reading, cleaning, cooking…) in a totally offbeat outfit (too much, chic, evening wear…) with a “fashion photo” pose and the poster accompanied by the hashtag #Fashion Week Quarantine. A link to a donation page is provided, created especially for the occasion to benefit the Paris Hospital.

The COVID confinement ultimately allowed us to grow our creativity.
Remoteness and isolation have become ways to explore and create differently.

Photography has definitively been a part of our escape, and sharing photos on networks has helped us to travel, communicate and stay productive from our couch.

Thanks to all the photographers who helped us to get through this period even without an exhibition!

Photo Credits: JR Korpa, Ambre, Peter Byrne, Clément Siegfried, Aurélia Faudot, Lucas Rainaud, Bryan Beasley, Julia Fazakas, Pauline Catellaggi, David Chicoine, Anne, Julia Domnina Poncin and Mylène Rocher.

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