audiences

A curious choice: Lomography turns to Kickstarter


A 35mm film scanner that functions via your smartphone? That sounds like a fairly cool idea to allow you to free your negative imprints, no matter how old or how recent, and share them digitally, courtesy of Lomography. It works by photographing a negative with your phone's camera (iOS or Android) that has been back-lit by the scanner. You then edit it using the custom-built accompanying app, and are able to archive, email, and share it. Simple.

All being well, the Lomography Smartphone Film Scanner should be available in March this year.

There is, however, something that I find particularly curious about this product (apart from it not being compatible with 120 film). Why has Lomography turned to crowd-funding platform Kickstarter to fund it?

It's true that Kickstarter doesn't have any stipulations about the sorts of people or organisations who can use it to seek funds, but the general feel is that it's an option for creative projects that might not be able to secure funding through more traditional means.

As Kickstarter itself says on its website:

We started Kickstarter as a new way for creators and audiences to work together to make things. The traditional funding systems are risk-averse and profit-focused, and tons of great ideas never get a chance. We thought Kickstarter could open the door to a much wider variety of ideas and allow everyone to decide what they wanted to see exist in the world.

I'm not convinced that Lomography, a company with an annual turn-over of $40 million and 350 employees, according the the FT, can be classed as an organisation that would struggle to secure a bank loan for a project that seems entirely reasonable.

This leaves me feeling slightly uncomfortable. First, people have a limited pot of funds that they're able to donate in support of projects. When a company that could secure external funding through traditional means seeks the support of individuals, it is depriving other projects that might otherwise struggle to secure a bank loan or seed funding from amassing the funds that they need to launch.

Whilst it is all very well to say that funders have the ability to choose to whom they lend their support and donate their contributions, Lomography has a huge following and a professional PR department. They have the ability to reach a greater number of potential funders than media-shy Joe Bloggs who's a brilliant inventor with no assets to act as security against a loan. Kickstarter is designed to give everyone a fair crack at achieving funding and realising their ambitions; when well-known brands start to get in on the act, the odds suddenly become skewed against the small people again.

Second we come to the term 'profit-focused' in the Kickstarter blurb. Kickstarter wants people to be able to create products or host events that fulfil their ambitions; they might not succeed in making a profit, but that isn't the point. It's about giving people a chance and unleashing potential. If a project does take off and conquer the world, so much the better; it isn't, however, the pivotal principle behind its inception or the key factor that determines whether or not it should be granted funding. It's about moving away from risk-aversion and profit obsession and allowing cool things to come to fruition. 

Lomography, on the other hand, is a business and it is out to make a profit. I find it highly unlikely that it desperately needs to secure alternative funding for the scanner because it can't manage it through any other channels. From here, this feels like a cheap loan for Lomography that relies on Joe Public.

No, Lomography looking for Kickstarter funding isn't illegal and it isn't against Kickstarter's rules. It just comes across as really unfair.

The Smartphone Film Scanner project page is here, but if you'd like to contribute to project that's closing soon, take a look here.

I have asked Lomography to comment on its choice of funding source. I am yet to receive a response.

15:30 GMT, 16 Janaury 2013 - Lomography has sent a response. It's quite long, I doubt you want to read all of it. However, the pertinent points are these:

In order to continue to develop and release new films and cameras while also keeping up with the demand of a digital world we felt it necessary to start a crowd funding project to create a new product that otherwise would remain on the back burner for a few more years.

Part of the idea behind using kickstarter was to involve our community in our endeavors and to give back with some really fantastic incentives.

Sites like Kickstarter are a great way to help us fund some of our more off-beat projects. We want to continue introducing new products and keeping the film world fresh. This is just one way for us to continue making the future analog.

Book review: Photo Trekking by Nick Onken

Fantastic photos - but Ella Bowker finds that she'd prefer it was a proper cofee-table book, rather than a half-way house between how-to guide and photographer's portfolio

As a semi-prominent photography blogger and photo writer, I occasionally am sent books to review. It’s pretty exciting, actually, because it gives me a great insight into what’s happening in the photography publishing world, and hey – it’s always a great idea to keep an eye on the competition. The problem is that I’m frequently not the target audience of these books: I’m an advanced photographer; I love to write for all photography audiences, but if my ongoing photography course for newbies project has taught me anything, it’s that photography looks very different through other people’s eyes.

So, this time, I decided to ask a friend of mine – the always lovely Ella Bowker takes a closer look at Photo Trekking: A Traveling Photographer’s Guide to Capturing Moments Around the World, by Nick Onken.

Take it away, Ella…  

 

I recently came back from a long weekend in Italy with my family (check out the pictures on Flickr!). I schlepped along a collection of books to entertain me on the plane, and I’d like to tell you about one of them: Photo Trekking: A Traveling Photographer’s Guide to Capturing Moments Around the World, by Nick Onken (Amazon.co.uk or http://amzn.to/dsjv9O ">Amazon.com. Travelling with a travel photographer’s book seemed highly appropriate. It’s not as if one needs much inspiration to take beautiful photos in the Tuscan hills, but perhaps this book would be able to help me take even better photos. Flicking through the glossy pages of exotic photographs, I noticed that he’d taken some shots not all that far from where I was staying, too. How exciting!

Uhm, so who is it for?

Unfortunately, I found the subtitle of this book to be a tiny bit misleading. It turns out this book isn’t aimed at the general travel photographer – those of us who take fairly good photos above the standard of the usual holiday snaps and want to do it a bit better. Instead, it is aimed at amateur photographers who wish to spread their wings and give professional travel photography a go.

Fantastic photos - but Ella Bowker finds that she'd prefer it was a proper cofee-table book, rather than a half-way house between how-to guide and photographer's portfolio

Call it a bugbear of mine, but it really bothers me when writers haven’t fully identified their audience. Or rather: Onken has identified a very specific audience here, but delivers a book which goes too far in some areas, and not far enough in others. Now, I’ll be perfectly honest: I’m not nearly good enough a photographer to aspire to do it in a professional capacity. To be entirely honest, I don’t think that I’d want to even if I were. Having said that, the premise of the book piqued my interest, and I threw myself at it in an attempt to learn about the life of a professional travel photographer and where exactly I’d need to start in the unlikely event that I did decide to pursue this as a career.

Perhaps I wasn’t the designated audience for his book, or may be I was slightly disappointed to discover that the content wasn’t actually what I thought it would be. Either way, I finished it and was left feeling that Onken hadn’t quite delivered what the book’s covers seemed to promise. Don’t get me wrong, the book shared some very useful information, such as what the different markets for travel photographs are,how to make initial contact with them, and how best to promote yourself and your work. However, all the while I had this feeling that the book didn’t go far enough. It was scratching at the surface of life as a travel photographer and not telling you enough of what you needed to know.

What’s it got?

The book is divided into five chapters: the world of travel photography, preparation, shooting on location, tips for taking great travel photographs, and after the shoot. Onken takes you through planning your shoot to ensure that it evokes the right feel for the client and includes anything that is a ‘must see’ for that location. The ‘How to budget for a travel shoot’ section was interesting, and discusses everything from airport transfers to local guides. But when it came to issues such as local etiquette and cultural nuances, coverage was rather thin. There was one more thing which struck me as odd: I’d have thought that if someone is seriously considering a career in travel photography, the chapter looking at photography tips is likely to be well below their level of expertise.

Each chapter, with the exception of thetips for taking great travel photographs chapter, contains at least one ‘Traveler’s Journal’ which gives the back-story to a series of photos taken in locations ranging from The City of God in Rio de Janeiro, Brazil to Kyoto in Japan. These sections worked well to communicate the human element of Onken’s photographs and his experiences in order to take them. If each chapter had been built around these journal entries, they might have achieved the degree of depth that this book needs.

I do feel that more could have been said about the grueling travel schedule and exhausting days of a travel photographer; the shots that made the cut and those that didn’t could have been examined; and the outcomes of that particular trip could have been looked at, too. Yes, it would have been a very different approach to the book, but one that I think could have worked.

Onken’s book feels more as if it were an exercise to get his photos on to people’s coffee tables. In order to do so, he settled on the niche audience of wannabe travel photographers. But there’s nothing wrong with a photo book for a photo book’s sake; Onken is clearly a talented photographer – but it just seems a bit curious to have them presented in a setting like this book.

It’s a cursed shame, really – there aren’t any books out there that covers this section of the market all that well, and after reading this book, I can’t but conclude that, well, there still aren’t any. But if there was one, I’d buy it.

Photo Trekking: A Traveling Photographer’s Guide to Capturing Moments Around the World by Nick Onken. Published by Amphoto Books, New York, available from all sorts of lovely book shops everywhere.

About the guest writer of this post

Ella is an avid amateur photographer based in London. Her Flickr stream is a documentation of her process of becoming a better photographer. She wrote Teaching Photography to a 5-year-old and Taking photos for the future for Photocritic.org


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