Well here it is, the turn
of the century and a new millennium ahead. What does the future hold for
photography and photographers? We asked our group of magi, wizards, sages,
and prognosticators (in other words our regular contributors) to dust
off their crystal balls, reshuffle their tarot cards, haul out their Ouija
Boards, and cast their runes and let us know what they think is coming.
You already know that our writers are a diverse lot, and so you shouldn't
be surprised at their widely varying views of the future. Sit back, relax,
and let the future of photography unfold before you.
the basics of photography will never be replaced. Good photographic
technique will never be outdated. But put that together with today's
ever growing technology and a whole new world begins to open up.
The future is always a combination of the best from the past and the
greatest ideas of today. One without the other will never last.
I see a return to tradition. Many who have broken away to forge new
roads are already finding them to be bumpy and leading in no positive
direction. The straightest path to photographic success is paved with
great photographic technique. Many could get lost taking short cuts.
Truly, the streets are paved with gold for those who make the effort
to mine it.
Darryl C. Nicholas
be captured, stored, and displayed electronically. We are just beginning
to see the "Model T Fords" of digital cameras now. As the
electronics improve and it becomes possible to capture and store more
and more raw data, it will also become possible to capture enough data
to support three-dimensional images. And, of course, after that, the next
step will be three-dimensional images that move. Think of them as moving
holograms in full color. I can imagine a picture frame that sits on your
desk and is powered by a tiny energy cell to display a 3D hologram-type
of picture. A small button on the edge of the frame will allow you to
change the picture. A second button will activate a five or 10 sec motion
clip with sound for each image.
Fine art photography will use the same technology with 30x40" picture
frames holding three-dimensional holograms in full color, being displayed
electronically from stored memory cells. Such images would never fade
or deteriorate. They would be permanently burned into the memory cell.
Once every few years you might have to replace the battery!
Oh, boy! Who
can even guess? I feel pretty secure in saying it will all be digital,
digital, digital. How can anyone keep resisting as equipment becomes simpler
and results get better and better? But that is for the pros. As for the
ordinary Joe, from what I have seen on the street, representing many countries,
I think multimedia will rule--camcorders everywhere, big ones, little
ones, and if I were a bettin' lady I would put my bucks on Sony.
Edward Sarkis Balian
will be able to share their work instantaneously all over the world; we
are just seeing the beginning of this today. The face of "publishing"
photos will be completely changed as a result. Cultures will be in even
closer contact than they are today via these instant images transmitted
everywhere--even well into deep space.
While technology will obviously be driv-ing the photo markets (as it may
already be today), "fine art" image-making will be alive and
well; there is just no substitute for the human hand working in image
creation. But, those working in darkrooms will be few and far between
and that skill will become recognized as strictly an art form; it will
no longer be associated with "photography" the way we define
Fantastic 3D digital cameras with superb image quality, selling at the
check-out stands in supermarkets for under $5. But, you will still know
how to best use it for taking great pictures. There will be nothing quite
duplicating the human mind!
David B. Brooks
has been far more important to how the 20th century has progressed than
most realize. This is largely because photographs are such a ubiquitous
part of every aspect of life today. Advertising has drastically affected
economics bringing most of us much improved lives over those of a century
ago, and largely because photography is crucial to the effectiveness of
so many ads. Photography impacts the course of history through newspapers,
magazines, and television shaping public opinion to influence the outcome
of wars, famines, oppression, and inhumanity.
With photography becoming increasingly digital in the 21st century, the
parts it has played in the past will prevail and expand as communication
continues to become more significant in every aspect of life. Digital
photography will also provide greater access to individuals to the use
of the medium as a means of visual expression and creativity. Accessibility
and affordability, will in the future, allow more and more individuals
to use the digital darkroom to an extent the traditional, closed, wet,
and light-less silver-film darkroom never allowed. The dimension of possibility
that is most intriguing is the phenomenon of convergence that is associated
with the computer. The ability to readily mix and blend other media with
photography so easily using a personal computer to make expressions and
communications presently unimagined.
I can unequivocally
say that my predictions of where photography is headed in the next 150
years will be wrong. The digital technology that currently exists was
not even dreamed of 30 years ago, so how can we imagine where things are
going? Having said that, I'm going to take a shot at guessing what
the portrait and wedding studio of the future will be like.
First, there will be no paper prints. The photographer will be paid a
fee to create the image or images, then they will be taken and stored
electronically and the client will walk out the studio with a CD or some
other storage device with the images on it. Multiple copies can be made
to give to friends and relatives. Homes will have "frames"
on the wall that hold a display device and the image can be changed easily
by remote control. Wedding "albums" will be a continuously
changing display. The need for small or wallet size prints will be eliminated.
There will be a point where photography and image manipulation software
is so simple and so inexpensive that the professional portrait and wedding
photographer will no longer be needed.
But hey, I've been wrong before!
Roger W. Hicks
Go forward far enough
in time, and cybermen may capture all they see with the blink of an eye,
download from brain to holovision screen, retouch by power of thought
alone, then save the shot for all eternity in some undreamed of form.
'Til then, and maybe after, silver's hard to beat for beauty,
cheapness, speed, and ease. Like Shakespeare's tongue itself, it
will survive beside the novelties; it may outlast them all.
One hundred fifty years
from now the two-dimensional image will be a thing of the distant past
replaced by three-dimensional images with their own corporeal reality.
Today's laser imaging is only a hint of what will be. The equipment
to make them will be as readily available as the 35mm SLR and the point-and-shoot
camera and probably easier to use. This imaging technology will have vague
roots in today's computers but be beyond anything we can imagine.
Perhaps the most radical innovations will be in astrophotography with
instruments that have their roots in x-ray, optical, and radio telescopes
but with advances that make it possible to image galaxies we can barely
see now. Again the images will be three-dimensional with unimaginable
detail. In a sense they will have a reality all their own rather than
simple photographic models. But no matter what there will be images and
people making them. Imaging has been ingrained in mankind from the very
Digital cameras and backs
are proliferating--some with better resolution than film; the darkroom
is moving out of the dark and onto the desktop; ink jet printers can lay
down images on a rich array of papers, canvas, plastic, and other substrates.
Software like Adobe Photoshop 5.5 offers infinite control over tonal curves,
contrast, color, and retouching, all in a tiny fraction of the time required
for these tasks with conventional photography. Over the next new decade
or two, I predict that digital will overtake conventional silver-based
More and more photos will be viewed, shared, and sold via the Internet.
The computer and television will merge into a new medium for viewing still
and video images, with the world connected by satellite. Looking even
farther ahead, nearly everyone will have a digital camera--a tiny, lightweight
still and video device smaller than a deck of playing cards with the electro-optical
equivalent of a zoom ranging from fisheye to 1000mm in 35mm terms. Film,
and eventually prints on paper, will be relics confined to museums. Pictures
will be displayed on walls on huge thin flat screens or viewed on magazine
size (and weight) computer screens, or with projectors that can fill a
wall. In 150 years or even a lot sooner, these images will be 3D. Isn't
it hard enough already to tell what's real from what is not? I'll
see you in cyberspace.
Robert E. Mayer
I believe the genetically
dominant seeds for what will grow tremendously in the future were introduced
10-12 years ago with the introduction of the original Sony Mavica digital
camera. In that far distant future decade most everything will undoubtedly
be vastly different than what we know today, due to greatly expanded technology
and inventions, combined with the need for a safer environment with minimal
caustic effluents from today's color chemicals--therefore it will
all be digital electronic in nature.
Silver halide film as we know it, will be a relic of the distant past.
All imaging will be captured and saved--permanently, with no worry about
fading or deterioration of precious images--digitally on electronic chips.
Lenses will be more like the human eye, able to adapt to widely different
light levels and still capture perfect, sharply detailed, images. So ISO
speed ratings will not be needed. There might even be some non-wired or
connected means of saving the images your eye sees, thereby eliminating
the need for a camera or other recording device with a lens. All you would
need is a highly portable small device with a memory chip to store the
visual images you desire to keep. These saved images could be transferred
instantaneously to friends and others via satellite transmission. Walls
in homes and offices would be coated with a sensitive material capable
of receiving and retaining any type of electronic image similar to flat
screen VDT monitors today.
As a veteran people photographer,
I am uniquely aware that it is the subject alone who determines the success
or failure of an image. So it matters not if the future sees the photographer
making filmless images. Regardless of the method used for capture and
delivery, the criteria for the successful portrait will always rest in
using the elements of light, lens selection, camera angle, posing, photographer-subject
rapport, and mind's-eye pragmatism to create an imaging environment
in which the subject wishes to reside if but for one special moment in
James A. Sugar
From my first camera,
a venerable Argus C-3, to my latest computerized, turbo-charged creation,
a Nikon F5, I have dreamed of the day when taking a picture required little
more than blinking one's eyes. In addition, I imagined that the
projection screen would resemble a theater-sized window shade in thickness
and in its ability to unfurl from the wall.
After witnessing the meteoric changes in computers and photography in
just the past decade, this human interface to future generations of computer
technology should become a reality during the next century. In other words,
shortly after blinking one's eyes, the photo-electronic image will
be beamed instantly to a flat panel display on the far wall of the room,
the far side of the planet, the far side of the universe, or the far side
of another person's brain. But until then, the camera/computer conundrum
will provide the valve that gets in the way.
second 150 years, methods and materials will, of course, change almost
unimaginably. Film will pass into photographic history as silicon finally
proves its superiority. Lenses will become much smaller as electronic
image brightness amplification matures, obviating the need for huge front
elements. Cameras will be incorporated into eyewear, featuring a VR "head-up"
viewfinder display. Stills, motion, audio, 3D, and variable aspect ratios
will all be commonly available from a single camera. Darkroom operations
such as dodging, burning, bleaching, and retouching will be accomplished
via multifunction electronic styli applied to images displayed on large,
flat touch screens. Your work (still series or motion) will be showcased
on plasma wall panels, updated by simply exchanging plug-in media cards.
You're gonna be having too much fun to lament the past!
The accelerating Information Age will demand improvements in the archivality
of digital storage media. Current magnetic solutions are unacceptable,
as the images inexorably begin leaking away into the Earth's magnetic
field as soon as they're taken.
And finally, Leica just might come out with an M7 rangefinder camera,
featuring a modern shutter capable of X synch at higher than 1/50 sec;
hmmm, we're only talking 150 years--nah, no way!
Peter K. Burian
I predict that both media
will continue to flourish side by side for some time yet, but digital
imaging will surpass conventional photography. By 2025, true photographic
processes will be a rarity, used by artists and a few traditionalists.
During the 1970s, Marshall McLuhan claimed that "the medium is the
message," but his theory is a fallacy. Regardless of our tools,
content will always be the message. A technically perfect, visually compelling,
or aesthetically pleasing image will evoke a strong response from viewers
whether it is made in silver halides, dyes, or pixels. Because of this
fact, the photographer's eye, brain, and creativity will remain
the most significant factor in this art and craft.
Much has been written
about the demise of photography. This is not going to happen for a very,
very long time. This is demonstrated by the simple fact that while top-end
illustration software occupies yards of shelving in art supply stores,
a greater amount of space is devoted to markers, T-squares, and crescent
board. Photography means, quite literally, writing or drawing with light,
and because everyone has something different to say, and says it in a
different way, the traditional materials of any medium will exist as long
as artists find them sufficient for expressing their social and cultural
statements. I'm one such adherent, but I have no gripe with digital--it's
simply not, so far, my voice.
Will we still want to hold a simple snapshot in our hands a century from
now? I think so. Be it a tintype of an unknown Civil War soldier, a faded
'60s Kodacolor of Mom doing the dishes, or an overly vibrant minilab
print of you or me 50 years hence, a snapshot creates an immediate connection
to the subject, a bridge that spans time, distance, and differences. It's
a moment captured, a very simple thing, a thing that need not be replaced
with anything more complicated, no matter how much "better"
the technology may be perceived.
Happy new millennium!
January, 2150--Just got
out of my time machine. Wow! What a ride through the past 150 years.
So here I am, in Botswana, a place I photographed with a 35mm autofocus
camera back in the year of the big Y2K scare. Same great wildlife here,
thanks to local and international conservation efforts. But man, phototechnology
sure has changed. Check this out.
The device I'm using to capture pictures is not called a camera
anymore. It's called a PDST, an acronym for Personal Digital Satellite
Transcorder. Why the name? Because it's tiny, records still and
moving pictures with sound--all digitally--and can transmit data to, and
receive it from, any place on earth via satellite. It's about the
size of one of those old cigarette packs that were banned in 2010, but
weighs about the same. It's solar powered, just like our safari
vehicles. Cost me $99.
As far as tech specs go: the digital zoom lens is equivalent to a 20-200mm
on a 35mm camera of yesterday, the ISO equivalent is 400, the viewing
screen is bright even under the blinding equatorial sun, and I can transmit
an endless number of pictures--as I shoot them--to my web site.
Today I used my PDST to take pictures, receive e-mail (and send this one),
watch the "Monica story" on the History Channel, check out
Shutterbug's web site, and call my National Geographic friends at
the base station on the Titanic.
Kinda cool, don't you think?
This is what I know about
the next 150 years of photography: The still image will continue to have
a unique place in popular culture, regardless of the technological changes
These are the things that I don't know about the next 150 years
of photography: Will there still be silver process film? Will there be
any mechanical parts of "cameras," or will it all be electronic,
with multi-megapixel sensors, LCD shutters, and teeny tiny multi-megabyte
storage cards? Will cameras of the future combine still images, moving
images, sound, and other data? Will there be any film available for classic
These are the things that I hope will be true in 150 years: Cameras from
a variety of manufacturers offer unprecedented automatic features, full
manual control, unlimited digital storage, and breathtaking resolution.
The "Old School" backlash is in full swing, and black and
white film, enlarging papers, and chemicals are the rage. We can all dream
can't we? We'll see...
Frances E. Schultz
Everything will change,
and everything will stay the same. Silverless photography will grow, and
change, and evolve in ways we cannot imagine. But for those who love the
craft of making traditional prints, the darkroom will still be their retreat.
Until the new media can engage the senses in the same way as the old--the
richness of the image, the crispness of the paper, even the smell of the
chemicals--then surely, silver will survive; and the future will continue
to make room for the past.
| Joseph A. Dickerson
release. February 5, 2149, Las Vegas, Nevada, USA, Earth Province. The Canon
Camera Company of Earth Province today announced at the Photo Marketing
Association convention in this city the new OCIS (Optical Cerebral Interface
System) that will replace the bulky handheld cameras that we have come to
expect in the last 50 years or so. No longer will the photojournalist need
to carry equipment weighing nearly a pound in order to capture and transmit
images and sound directly to subscribers the world over. The new system
will utilize the same display wall technology for the viewing of the images
as found in all homes today but the resolution will be increased to over
100,000 lines per inch and the fidelity of the audio will be greatly enhanced
The installation of the OCIS will be performed as a simple outpatient procedure
at a cost of less than 10 million earth dollars or just a little more than
the cost of a week long stay at any of Mars' famous health spas. The
optical unit, with an equivalent focal range of 6-600mm at an effective
aperture of f/1.0, is inserted into the photojournalist's dominate
eye and does not interfere with normal vision. The main controller/processor/transmitter
unit is implanted into, and connected directly to, the cerebral cortex allowing
the photojournalist to activate it, capture an image with sound and transmit
the signal to his/her subscribers by simply thinking it. A consumer externally
worn version is rumored to be in the works as well.
I see the future of photography
in the near future through the eyes of Blade Runner. A small gadget in
every home which combines television, telephone, computer, printer, all
in one module and operates completely by voice commands. "Gimme
a hard copy on that," and the print spits out from a slot in front.
Images will be captured with "cameras" so small they will
be worn as adornments, functional jewelry. Digital storage will be on
crystals, with hundreds of gigabytes on a crystal block the size of a
Later on in the more distant future I think of the world of Neuromancer,
a world in which we can share each other's realities and computers
will be fully integrated with the human mind. Humanity will become something
totally new, creatures of biology and solid state reaching levels undreamed
of today. In this world photography and motion pictures will cease to
exist, melded into a new, all encompassing art form in which the boundaries
of reality and virtual reality will not only blur, but cease to be of
any significance. I just want to live long enough to be a part of this.
See Me, Feel Me, Touch
Me. During the past 150 years, the shape and size of the tools that we've
used to create photographs has changed drastically. To capture sweeping
landscape vistas, you no longer need to drive a mule-drawn darkroom wagon
into the wilderness. Now while hiking in the Rockies, a tiny Advanced
Photo System tucked into a shirt pocket will do the job quite well. During
the next 150 years, the means that we'll use to capture photographs
will change dramatically, but not the motivation to share our view of
the world with other people.
Apple's QuickTime VR software--the hardware won't matter anymore--provides
a hint of the kind of images we'll be able to share with one another.
In the future, three-dimensional, wraparound images will be able to be
viewed through the same kind of tiny Walkman-like headset envisioned by
Douglas Trumbull in his highly underrated film Brainstorm. Viewers of
your images will be able to see, touch, even smell the experience that
you want to convey to them. Your images may be as simple as vacation pictures
made on this or another celestial body or as complex as unreal worlds
that exist only in your mind's eye and were created with successors
to software such as MetaCreations' Bryce--or maybe even a combination
of the two technologies. As Al Jolson said in 1929, "You ain't
seen nothin' yet."
of digital cameras is that they can be essentially "deconstructed."
An electronic camera doesn't need to be all in one piece. I've
already described in Shutterbug the necklace-camera, where one "gemstone"
is the lens, another the battery, another the image-processing system,
another the memory, and so on. Framing and focusing conducted by eye-control
on a special pair of Foster Grants. The components exchange data through
the string holding them around your neck.
Manufacturers are quite sure the market is not "ready" to
accept something so radical. Yet it could be built today, using off-the-shelf
technology. And this camera would be a lot less "in your way"
than any you actually have to pick up and hold.
Extending this objective over 150 years, we have to consider something
in the realm of bioengineering. Even more out of the way would be a device
that connects directly to the optic nerve, and records its photographs
in the photographer's spleen (or other appropriate receptacle).
Perhaps an implant would be impractical, and perhaps it would be necessary
to genetically engineer people who have biological image-recording systems.
This would certainly get the camera "out of the way," as well
as lending a new definition to the term, "cameraman."