English language

How to pronounce unchangingness in English?

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this thing that i hold in my hand is
going to kill photography it is going to
destroy the artful it is going to take
photography from the realm of the the
artisan the people who care about it and
they care about image making and it's
going to put it into the hands of the
general public
and all they need to do just press a
button and then it just takes a
photograph
it is really the death of photography
those are not necessarily the words of
somebody speaking in 2020 but they could
have been the words of somebody in 1888
who had been a
dedicated photographer who was appalled
at this new camera the the the kodak
number one
which
was a seismic event in the very truest
sense of the word in the history of
photography because it took photography
from the hands of the gentleman
scientist of the the person who was
hiding underneath the dark cloth behind
that big lens with all that mystery
chemicals and it put it into the willing
arms of the general public and oh
geez did that public
pick up that ball and run with it
yes you know photography exploded the
popularity of photography exploded
photography all of a sudden broke free
of the tripod it broke free of the
restraints that had been built up since
the inventions of the the gyrotype
people were experimenting and taking
photography in all of those directions
that they've never even considered
before
kodak of course were extremely happy
with this turn of events because they
had seen a gap in the market they had
seen a an ability to shake up the way
that things had been done
and
they had been proven right
throughout the 20th century kodak had a
lot of input in the growth of
photography
and in 1975 they also developed the very
first digital camera it was it was the
size of a toaster you know weighed four
kilograms it was it would have cost you
ten thousand dollars in 1975 money if
you could have bought one
and you would've thought hey what could
i be quite keen on on this but
they weren't they were just like
no do you know what um actually
we sell film we don't want to create
something
that
stops people buying films so thank you
but um let's put it to one side
kodak was intent on building up this
monolithic company that was basically
photography with the capital p i believe
that they saw themselves as photography
and in certain circles people saw
photography as kodak the two were
synonymous with each other
but that ball that they had started
rolling in 1975 and wanted to ignore it
but i think it's gonna
it was
it was gathering speed it was gathering
momentum
and it was rolling inexorably towards
the foundation of that kodak monolith
there have always been arguments in
photography
and and and today is no exception there
is a feeling amongst certain
photographers
right that film has always been better
will always be better and those who
photographed in the film days are
somehow inherently better photographers
and that is a
misconception
i am big enough and ugly enough to hold
my hand up and say do you know what i'm
actually wrong
i am wrong to think that way
in 1988
i was just a teenager and like teenagers
i was absolutely committed
committed 100
to the music that i liked
anything else that did not fall into
that very narrow category has to be said
of music was just rubbish that it was of
no consequence to me whatsoever my
parents didn't like it and i thought
their music was just junk right so this
is what was happening is that i was
learning photography i was learning to
see the world through the eyes of the of
the older masters whose story had
already been written
they had taken up a camera they had
lived their life with the camera and
they had retired or they had passed away
and now people were talking about their
photography and these are the
photographers who i was being exposed to
and they are the ones who even now much
like the music that i listen to
have the most connections with them they
move they have the most impact
emotionally on me because that's what i
listen to in my formative years and
there's always going to be that in my
mind and i'm happy to hold on to that
but it has been an issue with
with embracing
digital
digital photography was first introduced
to me or digital imaging rather
when i was a student and it was
photoshop version two i think it was now
this is before layers were even a thing
right i don't know how many of you like
hands up like like no layers in
photoshop whatsoever and and it was
great i was like wow this is so cool
this is so cool because we can do things
and i can use this to fix
and that's the operative word is to fix
things that were mistakes that i found
difficult to fix
in the traditional dark room it was very
hard for me to do that so photoshop was
a boon and that is why
where the seeds of what are my issues
with digital now with sown is because i
saw it
and i interpreted it from a film
point of view
i didn't see the digital landscape as a
means of expression or a means of
somewhere to explore i simply saw it as
a tool
to fix things
i wasn't aware of it at the time but of
course i was living through that seismic
change that somebody like lartigue had
had when they were in the the end of the
19th century and given cameras that they
could be free and and flexible with
taking pictures in the bath you know try
doing that with a large format wet plate
camera
so you know sort of thing so
all of these things
were not
in my consciousness because i was
in this kind of weird position between
digital
and film
i had a foot in both camps and and i
wasn't quite sure which one to
to go with
all the people all the mentors all the
people to whom i looked up to were
firmly welded in the filmic world
and the people in the digital world
certainly since the advent of digital
cameras in the early 2000s
they were
for the most part finding their feet
they were they were taking kind of
rubbishy pictures we could say and and
you know and i don't think that's being
completely unfair
but having said that
it's not like people with film cameras
never take rubbish pictures so you know
there's a lot of there's a lot of
rubbish produced on both sides but it's
unlike it's not unsurprising there was a
lot of odd imagery taken in the digital
world in the early days of digital
because it's a new medium as people are
experimenting with something just as
much as you know
when punk rock came along and shook up
modern music and it took all those
people like you know genesis and and yes
who were doing like prague rock stroke
beard i am you know i'm a grown up
musician now
and it said to them no
right we don't need all that stuff right
we've got three chords and and boom and
and a holy t-shirt and we're gonna go
with it
and they started a movement now some
punk is a little bit rough around the
edges and it's it's it's it's an
uncultured music of course because it's
supposed to be uncultured
but
later on the things that leapt from punk
all the genres that stemmed from that
moment
have
found their voice have found their place
and that's what's going on with digital
photography now is that the people
who are practicing digital imaging i
think that's probably a better word
digital
imaging
are starting to find their feet they are
starting to see the
infinite possibilities in digital
because they're not bound by
constrictions of history they don't feel
a burden of expectation they are quite
happy to take their influences from the
old masters and and things of that
nature because they can because they can
manipulate the images and they're quite
fine with doing so
in a way that echoes those masters that
the people who are kind of married to
film photography cannot do
both mediums have
fortes and strength and and drawbacks
but film
has a somewhat limited repertoire in
terms of emulating other things
whereas digital doesn't so if somebody
wants to emulate
old masters then then do so if somebody
wants to take
the technology that is now available to
them because obviously digital
photography isn't just about sensors and
things of that nature it's about the
thing other things that we could do
small cameras big cameras cameras that
fly i mean forgot cameras that fly that
you can just
that's
oh
geez that that again is like wow so you
can see this this change of pace has
been so quick
that even in my lifetime that is so much
has happened that is no wonder that
there are older photographers and
photographers of my generation who are
just going i i really find this change
of pace
difficult to keep up with so when i talk
to a photographer in their 20s and they
are all about
instagram and and all these sort of
things and i know instagram is a whole
another debate and an idea of
liking and shares and things like that
as a whole separate thing but they are
comfortable using these tools they are
comfortable
expressing themselves in these ways and
i think that is fantastic i think that
is wonderful and it's that enthusiasm
for
creation
that we all felt when we were younger
when we were in our 20s and 30s and we
were we were we were committed holy to
this idea that this was the best thing
ever that that's
that's great because we need people like
that to shake up the status quo to
remind us
that this hat that some
of us wear
about
the old ways with the best ways and the
only ways is a complete fallacy and it
has always been a fallacy photography
has always been in a state of change a
state of flux of movement look at
pictorialism versus pure photography
pictoriums is about you know messing
with the the the photographs and things
essentially digital processing right
versus photographers who went no no
that's all wrong you shouldn't do any
manipulation kind of things you know and
that argument's still going today you
have the ideas are like well i'm not
going to dabble in new technologies or
i'm not going to explore new
technologies because i've always done
things this way this way is the best
look at somebody like walker evans
walker evans hugely famous
for all of his work on the fsa and doing
the stuff that
um you know that was was kind of
showing america itself during the
depression
he was gifted
a
polaroid sx70 camera
and as much film as he ever could
photograph
and he took
digital or he didn't take not digital he
took
instant photographs i can't think of
anything that's more at odds with the
idea of a photographer from the 1920s
than instant photography in color i was
surprised i had no idea he had ever done
this and the photography that he he
created from these is wholly unlike
anything that he did
with
the fsa
of course technology means that you and
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in 2012 those balls finally caught up
with kodak and they were forced to file
bankruptcy because they hadn't
decided to embrace the change they
hadn't decided to move with the times
and to realize that photography wasn't
just one set thing that they said it was
even as late as 2007 kodak were making
adverts
saying that they weren't interested in
digital effectively that film was always
going to be around and that is a great
example of why
it's fine to want to
hold on to the past and to celebrate the
things that we enjoy i want to
listen to the music that i listened to
when i was a teenager i like to you know
wallow in my nostalgia i like to
think of the happy old days of being in
the dark room with the stop bath and
fixing all that sort of stuff
but i'm also
aware that
those days are slipping inexorably into
the past they are going away and that
it doesn't change
what i do it doesn't change
how i take photographs it doesn't change
the way i feel about photography i am
excited to see
the images that the new generations of
photographers are creating because they
are wholly unlike the things that have
gone before us they are as different
to the photography of the 1990s and the
2000s as the photography of of man ray
and all the stuff that was going on in
the 1920s was from the 1880s it was an
exciting time and and that's
the people taking a technology that was
new and running with it and and
exploring it the idea that somebody like
eugene ajay who spent his entire career
essentially photographing with the same
camera big boxing on the streets of
paris and that that's somehow noble
and and great where's this come from
where is this idea
taken root
that that to be in the to be welded in
the past
is is a good thing we need to move
forward
photographers of my generation i'm not
suggesting that we drop everything and
embrace digital because of course we
most of us do we most of us use digital
cameras what i am suggesting is that
from both sides we see
and appreciate that we see photography
from different lenses from different
sides and ultimately so long as you are
having fun so long as you were enjoying
the process i it does not matter
how you get from the idea from up here
into whatever medium that you want to
put it on
i like to read books i like to see
prints right
you may enjoy looking at photographs
on a phone
that's cool man whatever floats your
boat whatever you want to do
do it
let's stop arguing with each other let's
stop
being
clicky
the history of photography is littered
with people arguing against one another
trying to say that their way is right
and their way is better
and it's not it's all great photography
everything
is is wonderful there's photography is
just how we see the world there are as
many different ways of photography as
there are people with a camera and if
the camera is just a tool doesn't matter
what it is that happens to record light
on some sort of sensitive format that
you can then look at later on it's it is
just a thing stop worrying about it man
just just go out have fun just go nuts
stop worrying about you know
whether something's better than not you
know it's
there isn't a winner in this argument
the only person who's going to win is
that you become so obsessed with
moaning at the other person and trying
to convince them that you are right
that you don't spend that time
and that effort and that energy
taking photographs
the kodak number one changed photography
completely not because it was put into
the hands of the original photographers
the open beta if you will but it was put
into the hands of people who just
used it for fun without concerning
themselves with with the greater ideas
about photography and that of course in
turn led to the changing the very way
that most people think about photography
and now we've kind of reached
photography 2.0 with the advent of
digital and and all of that that that
entails and it's up to this newer
generation this generation who have only
known digital who
who don't consider themselves to be
photographers but image creators and the
camera is just a tool so so this digital
world that we live in has killed
photography just as much as
the the the kodak number one killed
photography before
and what photography was priced that
changed and it would change again in the
definition of photography will change
but it doesn't change the fact that
within us all throughout the generations
that of people who have looked upon the
world and going i have a capacity to fix
what i see in some sort of form to share
with others that is what draws all of us
throughout the years throughout the
generations throughout the centuries
to this
this human instinct to create a mark on
the world to say this is this is what i
see
kodak didn't want to admit that they
they thought that it would just be the
same always and that their way of seeing
the world would never change
much like this
this grain silo in cape town was a large
concrete industrial thing and for years
people only saw it as an eyesore and
something that blotted the landscape and
it took a new way of seeing a new way of
interpreting existing things
to create this lavishly complex bizarre
artistic wonderful expression of
architecture from an existing
block of
resolute unchangingness
this is the joy of what's happening in
photography today people are changing it
in front of our very eyes and and i wish
that i had the the use and that vim and
that vigor to go with them but i would
encourage you
absolutely
to
not
say to these people try and force them
into the old ways of doing things
encourage everybody to explore the sheer
joy of taking photographs
a photographer who kept evolving with
the times is edward steichen i would
suggest you go check his video right
here i know that you will enjoy it
thanks for watching

this thing that i hold in my hand is

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unchangingness::noun | Spocien Dictionary

unchangingness

noun

the quality of being unchangeable; having a marked tendency to remain unchanged

Type	Words
Synonyms	changelessness, unchangeability, unchangeableness
Type of	quality
Has types	constancy, fixedness, fixity, immutability, immutableness, innateness, invariability, invariableness, invariance, irreversibility, stability, unalterability, absoluteness, unexchangeability
Derivation	unchanging

How to pronounce unchangingness in English?

unchangingness::noun | Spocien Dictionary

abandonment

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