As 2014 draws to a close, we take a demeanour behind during a detailed trends that tangible 2014
Whether by digital channels, imitation or on exhibit, a impact, change and strech of a still picture has never been greater. But with so many images fighting for a attention, how do photographers make work that many effectively stands out and connects with an audience. In this seven-part series, TIME looks behind over a past 12 months to brand some of a ways of seeing—whether conceptually, aesthetically or by dissemination—that have grabbed a courtesy and been successful in progressing photography’s aptitude in an ever changeable environment, media landscape, and enlightenment now ruled by images.
From Stills to Motion
The relocating picture has turn a defacto aspect of today’s photography landscape, with B-roll, behind-the-scenes videos of print shoots and requests for photographers to glow video as good as stills.
But this year some photographers found a approach to safety a pride of a still picture while fluctuating a form to video, in a elegant and interesting demeanour by sharpened delayed suit video—at a thousand frames a second. Magnum’s Jonas Bendiksen finished brief sequences of celebrating fans during a FIFA World Cup in Brazil and Ross McDonnell combined vignettes (effectively photos that came to life) amidst a glow and ice of a protests in Kiev, Ukraine. The images (see Bendiksen’s video above) have a hypnotizing peculiarity extrapolating and magnifying a solidified immaterial impulse to a interesting sequence.
Elsewhere Gifs and memes developed to a some-more subtle, and worldly Cinemagraph to move a still print to life in other ways and Instagram embraced a brief form video among a block format print stream. But one of a simplest and many effective of executions of still photography to video was satisfied on The New York Times‘ website coverage of a Indian elections that employed seven-second clips by Daniel Berehulak shot with a sealed off camera of people relocating by a support to move a print to life.
Aerial photography has a abounding story and binds an inherited fascination—from Margaret Bourke White’s mid-twentieth century forays to a skies for LIFE repository to some-more new practitioners in a art of photography from a skies above, particularly George Steinmetz and Edward Burtynsky, to a satellite imagery that maps a world and images by wanderer photographers that shows a pleasing world from space.
This year, drones—which have been used for surveillance, in fight zones and to cover open and sporting events—fully embraced their artistic and journalistic potential. We saw worker videos proliferate online though one of a many effective artistic uses of drones was finished by photographer Tomas outpost Houtyre. His black-and-white worker photographs of America addressed issues of privacy, drought, middle city predicament and farming. Van Houtyre’s Blue Skies array became a longest print letter to be published in Harper’s magazine, while a new section was featured in TIME’s Futures Issue.
A New York Times story that employed drones (amongst other technologies) to give a new viewpoint on baseball, and a initial worker photography competition orderly this year both advise that this art has some-more potential. But either a use of drones becomes a viable bland choice for photographers will count on a government’s preference to order their use or not.
Phil Bicker is a Senior Photo Editor during TIME