William Talbot invented the calotype process in 1840, creating the first photographic negatives. This allowed copies of photographs to be easily reproduced and shared. In 1888, Kodak invented roll film and produced cameras for non-experts, making photography widely accessible. Edwin Land further developed instant photography with Polaroid in 1947, allowing photos to be printed instantly from the camera. Digital cameras were invented starting in the 1990s and revolutionized photography by enabling photos to be viewed, edited and shared electronically. Camera phones, beginning in 1997, further advanced this by putting photography in most people's pockets and allowing real-time sharing on social media.
(see https://www.youtube.com/watch?v=PrPVZ60s-ls for audio and sync'd slides)
"Content precedes design. Design in the absence of content is not design, it's decoration." - Jeffrey Zeldman
We've all heard that content is king, yet when it comes to designing web experiences we're still stuck with lorem ipsum and placeholder images, as though the real content didn't matter.
We're still designing web experiences from the top down, starting with the desktop view of the homepage, even though they're more likely to be experienced from the bottom up - starting with a content detail page on a mobile device.
Designing from the content out means starting with atomic elements of content, and building a system of components and layouts based on the real structure of content.
We’ve all heard that content is king, yet when it comes to designing web experiences we’re still stuck with lorem ipsum and placeholder images, as though the real content didn’t matter.
We’re still designing web experiences from the top down, starting with the desktop view of the homepage, even though they’re more likely to be experienced from the bottom up – starting with a content detail page on a mobile device.
Designing from the content out means starting with atomic elements of content, and building a system of components and layouts based on the real structure of content.
WordPress powers 22% of the web (or more - as much as 23.1% when I actually delivered this talk). However, as professionals in the WordPress community, we have to be wary of spending too much time talking to each other, and not enough time engaging with other communities.
What are the people who don't use WordPress doing? Static site generation, lightweight hosted platforms, other open source platforms, proprietary software - there are thousands if not hundreds of thousands of other ways to solve the problems WordPress tries to solve.
If we don't avail ourselves of the conversations happening outside the WordPress fishbowl, we'll miss out on opportunities for true collaboration and innovation.
Introductory slides for a presentation on how social media and Web 2.0 can be used to assist in professional development. From the 2009 SIM International Conference in Lawrence, KS.
Design in the Age of Synthetic RealitiesAndy Polaine
Presentation at UX Australia 2019
AI-generated and mixed realities are blurring the boundaries of “truth” and challenging how we value it. Synthetic Realities have reached new heights of sophistication, sparking controversy, and also fascination, about its creative possibilities.
Customers will increasingly expect brands to meet them halfway to supplement the realities they desire. Next, they will expect reality to adapt to them in real time without any conscious request. And the role of designers will be to set the stage on which these experiences happen, often curating AI systems rather than designing themselves.
UX practitioners face the double task of designing the interfaces to these new products, tools and services as well as seeing design for digital disrupted as radically as the invention of Photoshop and desktop publishing did three decades ago. If anyone can summon up an entirely generated image or an interface just by speaking its description, what is the future role of the designer?
The mixture of fear and fascination of the power of synthetic media is understandable but wrongly frames its future trajectory. This talk takes a view on synthetic realities not as something brand new, but the latest iteration of a long history of re-defining truth and reality through media manipulation.
Using visually compelling examples from the latest research and work in synthetic and generated media and charting their convergence, we'll see just how quickly they will be absorbed by culture, radically shake-up the fields of design, advertising and marketing in a very short time-frame, and transform the role of future designers and creatives. It raises important questions of design, ethics, and craft that the UX and broader design community will have to find answers to pretty damn quickly.
(see https://www.youtube.com/watch?v=PrPVZ60s-ls for audio and sync'd slides)
"Content precedes design. Design in the absence of content is not design, it's decoration." - Jeffrey Zeldman
We've all heard that content is king, yet when it comes to designing web experiences we're still stuck with lorem ipsum and placeholder images, as though the real content didn't matter.
We're still designing web experiences from the top down, starting with the desktop view of the homepage, even though they're more likely to be experienced from the bottom up - starting with a content detail page on a mobile device.
Designing from the content out means starting with atomic elements of content, and building a system of components and layouts based on the real structure of content.
We’ve all heard that content is king, yet when it comes to designing web experiences we’re still stuck with lorem ipsum and placeholder images, as though the real content didn’t matter.
We’re still designing web experiences from the top down, starting with the desktop view of the homepage, even though they’re more likely to be experienced from the bottom up – starting with a content detail page on a mobile device.
Designing from the content out means starting with atomic elements of content, and building a system of components and layouts based on the real structure of content.
WordPress powers 22% of the web (or more - as much as 23.1% when I actually delivered this talk). However, as professionals in the WordPress community, we have to be wary of spending too much time talking to each other, and not enough time engaging with other communities.
What are the people who don't use WordPress doing? Static site generation, lightweight hosted platforms, other open source platforms, proprietary software - there are thousands if not hundreds of thousands of other ways to solve the problems WordPress tries to solve.
If we don't avail ourselves of the conversations happening outside the WordPress fishbowl, we'll miss out on opportunities for true collaboration and innovation.
Introductory slides for a presentation on how social media and Web 2.0 can be used to assist in professional development. From the 2009 SIM International Conference in Lawrence, KS.
Design in the Age of Synthetic RealitiesAndy Polaine
Presentation at UX Australia 2019
AI-generated and mixed realities are blurring the boundaries of “truth” and challenging how we value it. Synthetic Realities have reached new heights of sophistication, sparking controversy, and also fascination, about its creative possibilities.
Customers will increasingly expect brands to meet them halfway to supplement the realities they desire. Next, they will expect reality to adapt to them in real time without any conscious request. And the role of designers will be to set the stage on which these experiences happen, often curating AI systems rather than designing themselves.
UX practitioners face the double task of designing the interfaces to these new products, tools and services as well as seeing design for digital disrupted as radically as the invention of Photoshop and desktop publishing did three decades ago. If anyone can summon up an entirely generated image or an interface just by speaking its description, what is the future role of the designer?
The mixture of fear and fascination of the power of synthetic media is understandable but wrongly frames its future trajectory. This talk takes a view on synthetic realities not as something brand new, but the latest iteration of a long history of re-defining truth and reality through media manipulation.
Using visually compelling examples from the latest research and work in synthetic and generated media and charting their convergence, we'll see just how quickly they will be absorbed by culture, radically shake-up the fields of design, advertising and marketing in a very short time-frame, and transform the role of future designers and creatives. It raises important questions of design, ethics, and craft that the UX and broader design community will have to find answers to pretty damn quickly.
THE HISTORY OF CAMERA AND ITS FIRST USAGERonak Jain
Living in a day and age where technology is reaching new heights all the time, it is hard to contemplate the fact that there was once a time when all this tech didn’t exist. It is a very common thing now, to think about the camera quality before buying our new mobile phone. And why not? Cameras literally shape social media and how other people get to view our lives. It is because of cameras that we have the ability to freeze a moment and see it anytime we want to. Its borderline magical, so to speak. But, have you wondered where and how did the very first camera originate? If you’re a camera lover or a history geek, stick around. You’ll love i
An activity booklet and guide to to film history, mise-en-scene, cinematography, and editing, designed for GCSE Film Studies.
Featuring over 170 pages of information, analysis, tasks, assessments, insights and examples, this guide is the definitive introduction to the basics of film studies, designed to introduce students at GCSE to key concepts that they need for their whole film education.
This booklet provide an in-depth insight into key aspects of Eduqas GCSE Film Studies with a detailed overview of the history of film technology. Providing key context about the nature of film as a technology from Nicéphore Niépce's first photo the rise of CGI, this booklet covers it all. With dozens of images, photos and links to various clips, videos and bespoke examinations, this booklet will provide students with a thorough examination of how film technology has changed and developed over the last 200 years.
A core focus of this booklet is on the technology timeline which is a key aspect of component 1 in the Film GCSE and this guide is a useful way of providing not only the core details but some extra context and history that helps to provide further insight and context to the technology and the development of it.
This textbook is perfect as a printable textbook for students to work straight onto, as a guide for teachers and staff as it's fully resourced and contains a huge range of tasks and links to YouTube videos, it also works brilliantly as cover work, work for remote learning such as those isolating at home, as a homework or for revision. You could even use this as an introduction, extension or home learning task for A-Level Film Studies.
To purchase, please go to selly.com/iandoublem
GCSE Film History booklet updated for new spec from 2022_watermark.pdfIan Moreno-Melgar
Fully updated to take advantage of the updated 2022 GCSE Film Studies specification, this booklet is designed to cover the Technology of Film aspect of the course. Featuring nearly 25 pages, this in depth guide expands the timeline provided by the exam board by offering more detail, facts, anecdotes, information and a wide range of tasks. There is also a suggested viewing task at the end to ties things together. This version contains the Word AND PDF versions of the booklet. The PDF version can be instantly printed and distributed to students to be used as a workbook. It's also great for revision, for digital distribution or hosting for students or just for your own reference. The Word version is perfect for editing and adapting to you and your students needs.
You can buy this from here:
https://ko-fi.com/s/e7f83fdf7d or here:
https://www.tes.com/teaching-resource/resource-12414478
Similar to Carmen Tavarez's Technology Timeline (20)
2. 1840- William Talbort invented calotype, AKA, negative, which was
done by “using paper sheets covered with silver chlorid”
http://www.fact-index.com/c/ca/calotype.html
Three facts on how this changed photographic and photojournalism as well:
• The negative allowed copies of the actual photograph to be made. When this
was invented the photographers would have to have a sheet of paper, water,
solution of silver and other ingredients as well. A few minutes after it wall was
mixed in together; they would have a printed copy of the photo.
• The calotype process was shared with other people that wanted to have a
printed copy of the original photo.
• This also impacted journalism because once they were able to make copies
of an original photo; the journalist could share the story of the photograph in
more than one way. This method was used for a very long time and it’s till
around in certain cameras such as Kodak. Over the years “Content remains
the most important element of photojournalism, but the ability to extend
deadlines with rapid gathering and editing of images has brought significant
changes. As recently as 15 years ago, nearly 30 minutes were needed to
scan and transmit a single color photograph from a remote location to a news
office for printing. Now, equipped with a digital camera, a mobile phone and a
laptop computer, a photojournalist can send a high-quality image in minutes,
even seconds after an event occurs. Camera phones and portable satellite
links increasingly allow for the mobile transmission of images from almost any
point on the earth”. http://en.wikipedia.org/wiki/Photojournalism
3. 1888- Kodak invented by Eastman Kodak is a “roll film and the first
camera suitable for non-expert use”. http://www.fact-
index.com/e/ea/eastman_kodak.html
• Kodak was around for many years and they became available in many
stores such as CVS, Walgreens, Kmart, Wal-Mart and even some gas
station. If I had plans to go to a park, I would stop by any store and pick up a
Kodak camera as I knew I would want to take pictures. Most Kodak camera’s
carried a film of 28 allowed pictures. Once the film was finished you would
have to take it to a photograph booth to have them developed.
• The film was developed it would also include negatives, which I explained in
one of the changes of photography, this allowed for people to provide their
family members with the negative so that they can receive a printed copy of
the original photograph. This of course would happen if the photographer did
not want to print extras copies of the photos as they would have been an
additional charge.
• Kodak used the slogan “you press the button, we do the rest”
http://www.pbs.org/wgbh/amex/eastman/peopleevents/pande13.html Kodak
went as far as even space. Kodak was able to take colorful photographs and
was used by astronauts including the Apollo 11 in which the first astronaut
walked in the moon. This made history and as you can imagine, Kodak must
feel proud to have made it this far.
By Larry’s camera collection
4. 1947- Instant camera also known as (Polaroid) invented by
Edwin Land.
Facts on how instant camera changed photography:
• When Polaroid became popular and affordable it was as easy as a 1, 2, 3.
You take one picture and you would immediately have it in your hands
although the picture would take about a minute to load. This was a great tool
in photography because you were able to share real-time photos. I remember
once having my grandma from Puerto Rico visiting me and it was her last day
with me and she wanted to take photos with her to show my family in Florida
because she went back to PR. Because I had a Polaroid camera, I was able
to take photos with the family and give them to her the same day we took the
photos.
• The downside of the Polaroid camera was that if there was more than one
person in the picture, only one person would get to have the picture since
there was no way of duplicating the photo.
• There is an article on Smithsonian about how Andy Warhol and the late
Steve Job were inspired by Polaroid. Steve Job was inspired by the way the
instant camera worked. He had owned an instant camera since he was 14
years old until Polaroid got to the end of his journey. That is when Steve Job
said “. I called up a bunch of Polaroid artists, people like Chuck Close who
work in Polaroid film, and they were really angry about having this material
taken away from them. It led me to discover that there was a Polaroid cult out
there of artists, enthusiasts and people who just love this old way of making
pictures”. http://www.smithsonianmag.com/arts-culture/Why-Polaroid-Inspired-
Both-Steve-Jobs-and-Andy-Warhol-172680651.html
Photo by, George Akkawi
5. 1990- Dycam Model 1, “the first true, commercially available digital
camera”. http://www.cameracuriosities.com/2012/02/dycam-model-1.html
Facts on how digital cameras changed photography and had an impact on
TrenholmJournalism:
• Digital cameras have made a huge difference in the world and also in the
photojournalism business. When digital cameras out, you were able to take a photo,
adjust the photo, use the timer so you can take a photo of yourself or a group with
yourself included. You had the option of uploading the photos to your computer and
or taking the SIM card to a photo booth to have them developed.
• Digital cameras have also changed the world in the way that the photos come out
more bright and colorful with more light. It brings a whole meaning to the photo and
it works great with marketing.
• The biggest think about digital cameras is that it made a huge impact in the
journalism world. While it has made the photojournalist job easier it also has its
challenges because technology has gotten so far ahead that it is now hard to keep
up. While they just purchased a great digital camera that takes great photos and are
easy to download and publish, a week later another digital camera would go in the
market that has the same capabilities and more to the extreme that those cameras
are able to publish photos directly from the camera itself without needing a
computer. This becomes a more competitive world and hard to keep up when
you’re in the photojournalism business.
6. 1997-Present- Cell phone digital camera built by Phillipe Kahn in 1997.
It was first introduced in Japan and then successfully introduced in
America in 2002.
Facts on how Cell phone digital cameras have changed the photography and
journalism world:
• So much technology has been developed since the first digital cell phone
camera was built. Let’s begin by networking websites. There’s Facebook,
Twitter, BlogSpot, Pinterest and one of the most popular one’s these days,
Instagram.
• Most people walk with the cellphones in their hand all the time and when
they find something that catches their eye, they immediately take a photo of it
and upload it to whichever networking site they belong to. Consider it “real-
time” in that event if the photo is uploaded and shared right away.
• Journalism is definitely doing well with this. I’ve used the news channels and
weather channels as an example before since I follow those the most. The
journalist are able to report a “breaking news” event right away from their
cellphone and even upload and publish a picture into their website or even the
networking site. This then promotes attention from their fans and viewers and
people begin to comment back and forth to talk about the photo and
journalism included with the photo. This has made the photojournalist job
much easier and even a better and fun way to do their job and also interact
and build a relationship with others interested in their contents. Some sites
such as wwlp.com have a link called “report it” and it basically what is means
is that you can share a photo of a disaster event or a nice event with them
and if they are interested in what you’ve shared, they will share it with the
public and give you credit for sharing it. Technology has definitely come very
far and it will be fun and interesting on how much better it can actually get.
Photo Tipman