6X6

End of 6X6

When I started 6X6 I hoped to keep up with the rise of social mobile photography.

Unfortunately I no longer have the time to do this topic justice...

All future blogging efforts will happen at my main blog: Planning Notes.

'How visual life logging is changing photography' at SXSW 2014

 

And here is the Slidedeck: 

How visual life logging is changing photography from David McNamara

 

And here is the Soundcloud audio of the talk: 

 

My Austin Chronicle interview: how visual life logging is changing photography

 

Here is a transcript from a Q&A I did with a journalist from the Austin Chronicle before my talk at SXSW 2014 on 'How visual life logging is changing photography':

 

AC: What are the implications of visual life logging at this scale?

DMc: Great question. I think for the amateur life logger, life logging at this scale can be daunting and frankly a difficult task to navigate. The implications are quite clear: how will mainstream loggers cope with big data on this level and are there sufficient smart tools to manage the creative outputs? My own experience has highlighted a real need to connect different tracking apps to my Autographer so I can get a more complete picture.

 

AC: How has it changed your interactions with people in daily life?

DMc: People always ask what and why I am doing it. There is always a look of curiosity and slight apprehension. A market stall trader was visibly upset I was logging my interaction with her. A colleague pointedly turned away from me in meeting. Tube commuters eyed me suspiciously. And family and friends laughed nervously about my nerdy project. Generally my visual life logging was slightly divisive and parked in the weird box when discussed. My everyday interactions took on a different halo when logging.

 

AC: When did you begin?

DMc: I started a bit later than expected – back in November. I pre-ordered a Narrative Clip (aka Memoto) but it’s shipment was seriously delayed so I ended up with my alternative choice: the Autographer. Which on reflection was the best outcome, I have been really pleased with the Autographer. I confess that my logging has been inconsistent partly down to my user experience of visual life logging. I have found myself making active decisions to choose when and where not to wear it.

 

AC: Why did you start the project?

DMc: I have always been intrigued by the promise of the quantified self and the extremes of photography; in the way you can document objectivity and craft new truths through storytelling. The combination of both is quite powerful. Thinking about photos as data is also interesting in its own right. In my day job I spend a lot of time thinking how content travels through networks. Photos are like sponges, taking on new data as they travel through the web, tags, likes, comments: this additional data can shape a new meta narrative beyond the original photo. I guess at a simple level, as someone who takes a lot of photos anyway, I wanted to search for the boundaries of understanding and capturing the reality of what ‘capturing every moment of your life’ actually means.

 

AC: How long do you suspect it will continue?

DMc: As a project I think it has a natural shelf life, but as another way of capturing the moments that matter I think it will continue as long as I enjoy photography. I don’t see that stopping soon!

 

AC: Do wearable cameras help you make ‘more of the moment’?

DMc: With smartphones and normal cameras, you basically stop and interrupt the moment to capture it. Or if you are very lucky you have captured it with near partial interruption. But you have still mentally stopped and said you will capture that moment. Alternatively you could choose to fully experience the moment unfettered by any recording device. Are you paying more attention to a moment when you are actively capturing it or is your experience of the moment spiritually diminished by the fact you contaminated the moment’s purity by recording it? No easy answers on this one – and entirely depends on your starting philosophical position.

Of course, the promise of visual life logging is that you are freed from this dilemma. In a way you can enjoy the best of both worlds – capturing and experiencing moments at the same time. But something tells me this is a false promise. The reality is you have a diluted privilege of experiencing both the colour of the moment and the benefit of passively documenting the event. But, and this is the key artistic point, documented without an active narrative of your own design. For me this compromises the magic of photography.

 

AC: Why ‘do I do photography’? What do you get out of it?

DMc: Great question. I got into photography relatively late, but it was at the very start of the digital era. My first camera was Canon’s first digital SLR – a 300d back in 2001. I remember the feeling of instant payback of trying to capture the perfect shot. I liked the editing process just as much as shooting. And still do. But over the years the ambition for getting ‘the perfect shot’ has passed to a search for collection rather than perfection.

I ‘do photography’ because fundamentally I am a collector, rather than an artist. I guess I am bit more of an Atget than a Cartier Bresson – which is weird because Henri is one of my photographic heroes. His theory of ‘the decisive moment’ is one I subscribe to. I like the idea of collecting genres of situations and objects I experience. I like the idea of a life’s mission spent on collection. The best photography brief for me is the flaneur brief of go seek and collect. The act of collection is a creative process of course, making active choices to compose the moment you are capturing.

I get inspired when I hear stories like that of Vivian Maier – the anonymous French amateur photographer who documented life with such perspective and beauty. She was a visual life logger. Of course, not in the way we now understand it. But perhaps in the way it should be. A journey through life collecting halo moments. 

 

AC: What will you do with all the logged photos you have collected?

DMc: Good question, not sure yet. At the moment all of them are archived using Autographer’s proprietary image management software. I can filter for shots by custom tags, location and different camera selections. I have analysed data for any ‘signature aesthetics’ and found a few. I am interested to use the archive as a ‘mirror’ to my other photography to see how each collection is developing.  

My perfect solution to this question is the (yet to be invented!) Life Curation Agent. An intelligent cloud curation and archiving system that can use a self learning curation engine to algorithmically make sense of and exhibit your images. Searching for anomalies, halos and signature events. Surfacing moments serendipitously to reflect on and generate auto share moment albums.

At this stage I am not interested in the idea of making an art project out of it. Although this may change as I go down the rabbit hole even further!

Crowdsourced Instagram short films are all the rage

 

Love this - a crowd sourced short film from Thomas Jullien made up of 852 instagram photos.

Update: Autographer launches my visual life logging project

I grew impatient waiting for my Narrative Clip - (it's somewhere in transit in Korea I think.)

So along came Autographer to jump start my life logging odyssey. It arrived yesterday in some very elegant packaging and, I must admit, a tingling geeky unboxing experience unfolded.

First impression was the size of the device. It was slightly bigger than I expected. Yet light enough and solid in its build.

Second impression was how easy it was to get started. Simply pressing the go button and then figuring out where to fashion it to your body. I chose the clip option to my shirt. But this will take some experimentation to find the optimum position.

Third impression was this sense of you are wearing it and feeling additive. That somehow my senses had already been enhanced. This feeling of 'life logging consciousness' is something I am sure I will explore more deeply in the coming weeks and months.

Fourth impression was the 'expected surprise' of the amount of image data already captured in less than 24 hours. Half a million photos in 4 months here I come! And already I can see glimpses of signature aesthetics and certain genres of life logging shots.

Lastly, the amount of curious looks and questions from colleagues tells me this will be as much about the commentary on life logging as much about the act itself.

So, the experiment begins in earnest. Will my unexamined visual self be enhanced?

Onwards into the void.

 

My visual life logging experiment begins

Last week I was blown away to be chosen my SXSW to speak at next years event on 'How visual life logging is changing photography.' 

Today my experiment begins by ordering my kit.

I did a reasonably detailed search of the hardware options available to a visual life logger about to embark on his odyssey. One thing that surprised me was that there weren't many products to chose from. And also how 'new and shiny' the products looked and sounded in reviews.

It was a close call with Autographer, but in the end I have chosen to go with what was known as Memoto, but recently rebranded to Narrative.

 

My order ships on 1st November.

In the coming weeks and months I will be journalling my experiment on this blog.

The adventure begins! 

#lexusinstafilm shows how brands can mobilise the Instagram community

 

Lifeloggers - a journey into the future

 

Instagram Is

Instagram Is from technopaul productions on Vimeo.

 

Six photographs by Rene Burri

"Six Photographs": René Burri from PORT on Vimeo.