THE FUTURE OF PHOTOGRAPHY

After a lively “Fireside Chat” together at the 2015 DMLA Conference, Severin Matusek, VP of Community at EyeEm, asks his fellow panelists again how they see technologies will change photography this year.

Stephen Mayes, Executive Director at Tim Hetherington Trust; Anna Dickson, Content and Community Photo Lead at Google;  Taylor Davidson, Entrepreneur and writer specializing in digital media, technology and photography; and Paul Melcher; entrepreneur and founder of Kaptur all offer their insights here.

 

 

 

One thought on “THE FUTURE OF PHOTOGRAPHY

  1. drobpix

    Unfortunately this skewed vision of photography’s future is derived from conversations with a questionable group of panelists who derive their salaries from undermining the value of photography. It is important to note here that not one of these panelists is, in fact, a professional photographer. To that point, it is no surprise then that a group consisting of a representative of EyeEm—an exploitive startup based in Germany that derives its revenue by under-paying photographers for their images and enabling global corporations they partner with (i.e. Mercedes, Motorola, Huffington Post etc.) to not pay photographers at all, and a representative from Google who’s business model has devolved into one of serial copyright infringement, and Paul Melcher who was VP of Digital Railroad when it went out of business on his watch owing photographers thousand of dollars in licensing fees, would think that the future of “Photography as we know it is over, and that’s an exciting thing”. In their excitement over new technology and hardware, this group fails to mention anything about how exploitive business models such as theirs, have made it harder and harder for photographers, authors and artists to make a living and that the very future of the industry is hanging by a thread. Nor does their myopic take on the future of photography mention anything about the game-changing Copyright Reform Act now being written by Congress which is looking to protect the rights of photographers, authors and creators against the exploitation by the likes of Google, Facebook, Instagram and their ilk and is supported by every trade organization representing creators. Perhaps if Severin Matusek, Anna Dickson and their colleagues who profess their support for photographers spent more time actually ensuring photographers are paid equitably for their work and less time pleasing their investors while pitching their latest exploitive products, their press releases and pronouncements would seem slightly less disingenuous and self-serving.

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