Professional Documents
Culture Documents
The Social Experience of Lomography: An Exploration
By
Tay Hong Yew Gerald
Supervisors:
Dr T T Sreekumar and Ms Chiang Jing Ying
An Honours Thesis submitted in partial fulfillment
of the requirements for the
Degree of Bachelor of Social Sciences
(Honours)
to the
Communications and New Media Programme
National University of Singapore
AY2008 ‐ 2009
DECLARATION
This thesis represents my own work and I have duly acknowledged the sources and information,
which I have consulted for the purpose of this study. The total word count for this thesis is 10,458
words.
____________________
Tay Hong Yew Gerald
i
ACKNOWLEDGEMENTS
I would like to express my heartfelt gratitude to the following people for their contribution
towards this thesis.
• My supervisors, Dr. T.T. Sreekumar and Ms Chiang Jing Ying, for their patient guidance and
invaluable support. I thank you both for the numerous hours we spent together discussing my
thesis in detail.
• My parents, for their guidance in life and valuable support in providing me with an education.
• Irys See, for her emotional support, and for simply being there.
• Daniel Beh, for introducing me to the world of photography. I’ve not turned back ever since.
• The close friends I have made through photography, for seeing me through my photographic
journey over the last 6 years, cumulating in the writing of this photography‐related academic
thesis.
• My respondents, for taking the time to participate in the interviews.
• Lastly, everyone I have met in the Communications and New Media Program in the National
University of Singapore during my four years of study. Without you, this thesis would not have
materialized.
ii
ABSTRACT
Technological advancement is often assumed as linear in progression, with new technologies
substituting and hence dominating the use of older technologies. In the new media environment, we
have seen the advent of digital photography in the recent decade.
The purpose of this thesis is to study the determinants that motivate the use of ‘old‐media’
technologies in the new media environment. This study explores the non‐linearity of technological
diffusion using Lomography as a point of focus, and also to understand the conditions under which
analogue photography is still viable.
Achieving the status of a social movement would normally allow for the survival of such media.
Lomography has the semblance of a social movement, but this notion needs to be explored in detail
before a conclusion to the claim can be made.
Extensive literature review on concepts related to the purpose of this study has guided our research
topics and interview questions. A total of 7 amateur photographers have been interviewed on their
views regarding the topic.
Results have shown that Lomography qualifies more as a collective social experience than a social
movement. However, the reasons behind its popularity in the new media environment can be
attributed to a sense of nostalgia for the film format and medium, and also the affordances of the
medium and psychological view of Lomographers that Lomography is more ‘fun’ as compared to
digital photography.
As this study is exploratory in nature, its key contributions are in raising questions to guide future
research on the phenomenon of Lomography and the non‐linearity of technological advancement.
Included in the appendix are examples of Lomographic cameras and images.
iii
Contents Page
Page
Declaration i
Acknowledgements ii
Abstract iii
Contents Page v
Chapter
1 Introduction 1
1.1 Purpose of study 1
1.2 What is Lomography? 1
1.3 Difference between Lomography and conventional photography 1
1.4 Chapter Schema 2
2 Literature Review 3
2.1 The Camera 3
2.2 The Resultant Image 4
2.3 Studium and Punctum 5
2.4 Social Movements 6
3 Research Design, Process and Focus 8
3.1 Sampling 8
3.2 Process 8
3.3 The Interview Guide 9
3.4 Secondary Analysis 9
3.5 Areas of Focus 9
3.6 Definitions of terms used 9
iv
Chapter Page
4 Findings and Analysis 11
The determinants of analogue photography’s survival through 11
Lomography
The value placed on the image and camera 12
The restrictions and enabling factors of the medium 13
The importance of understanding Barthes’s studium and punctum 16
Lomography as a social movement 17
Digital media’s contribution to the resurgence of ‘old media’ 21
Deviance in Lomographers 21
5 Discussion 23
5.1Studium and Punctum as a shifting concept 23
5.2 The survival of Lomography 23
5.3 Does Lomography qualify as a social movement? 24
6 Conclusion 25
6.1 Contribution of thesis 25
6.2 Limitations of study 25
6.3 Suggestions for further research 26
v
References 28
Appendix A – Interview Guide 29
Appendix B – Interview Respondents’ Identifiers 31
Appendix C – Interview Key Findings 32
Appendix D – Images of Lomographic Cameras (with regards to our study) 35
Appendix E – Samples of Lomographic Images 36
Appendix F – Lomography’s 10 Golden Rules 37
Appendix G – Analogue vs. Digital 2008 Survey Results 38
Figure 1: Sampling Matrix 8
Figure 2: Relative inclinations of respondents towards Lomography or 24
digital photography based on responses.
Figure 3: Social movement aspects of Lomography 31
vi
1
Chapter 1: Introduction
1.1 Purpose of study
The purpose of this thesis is to study the factors motivating the use of ‘old‐media’ technologies, with
Lomography as a point of focus. It explores the non‐linearity of technological diffusion with the
survival of Lomography as an example.
This study seeks to understand the conditions under which analogue photography could continue to
be popular with amateur photographers, and also the shortcomings of digital photography that
results in such phenomena.
Achieving the status of a social movement would normally allow for the survival of such media.
Lomography has the semblance of a social movement, but this notion needs to be explored in detail
before a conclusion to the claim can be made.
1.2 What is Lomography?
‘General Igor Petrowitsch Kornitzky, right‐hand man to the USSR Minister of Defense and
Industry, slammed a little Japanese mini‐camera onto the ornate desk of his comrade Michail
Panfilowitsch Panfiloff. Mr Panfiloff, Director of the powerful LOMO Russian Arms and Optical
factory, examined the camera closely, noting its sharp glass lens, extremely high light sensitivity
and robust casing. The two gentlemen, realizing the superior nature and extreme potential of this
strange little item, gave immediate orders to copy and improve the design ‐ with the ultimate
goal of producing the largest quantity possible for the pleasure and glory of the Soviet
population. It was decided ‐ every respectable Communist should have a LOMO KOMPAKT
AUTOMAT of their own.’‐ Lomographic Society International, 2009
In the year 1982, the Leningrad Optical‐Mechanical Amalgamation (LOMO) Company conceived the
LOMO LC‐A camera to address the photographic needs of the Soviet Republic. However, this soon
became obsolete due to cheaper Asian imports (Lomographic Society International, 2009).
After many years, a group of Viennese students rediscovered the LC‐A in 1991 on their tour of the
Czech Republic. They were amused with the garish and unfocused images (Lomographic Society
International, 2009) captured by the LC‐A during their Czech tour. The Lomographic Society was
subsequently founded within a year of this discovery, and the first Lomographic Embassy was thus
established in Berlin in 1994.
Today, there are approximately 60 Lomographic Embassies internationally that serve as regional
hubs for the organization of events and members. The LOMO Company has now extended into the
online realm with it web portal www.lomography.com and other areas such as fashion (Lomographic
Society International, 2009).
1.3 Difference between Lomography and conventional photography
Apart from quirky and unfocused images, Lomography sports several differences from conventional
photography. We highlight the key differences between the two by analyzing the medium and
resultant image.
2
The Camera
Conventional photography sports a steep learning curve with its myriad and settings and the control
it offers the user over the camera medium. The user would thus have to control the amount of light
entering the camera by manipulating the aperture and shutter settings of the camera.
‘Point‐and‐Shoot’ defines the way Lomographic cameras are used; they do not afford the range of
controls conventional photography allows. Rather, it removes the learning curve by using a single
setting.
Conventional cameras also utilize glass optics to obtain clear and sharp images. To keep prices low,
however, Lomography sports plastic made optics, which contributes to the quirkiness of its images.
The Image
As explained in the introduction earlier, most parts of a Lomographic image often turn out blurred
because of the lack of focusing ability.
The plastic optics contributes to the saturated colors of the resultant images. Due to poor sealing
techniques of the camera’s body construction, strong vignetting may also occur on the images.
Demographics and Psychographics of Lomographers
2290 respondents participated in the online survey conducted by the Lomographic Society
International, ‘Analogue vs. Digital 2008’. The demographics information shows that Lomographers
are sexually balanced, with an approximately equal number of male and female participants;
Majority of the Lomographers fall within the group of 16 to 30 years of age (70%). Most are well
educated with 59% having at least a university education and 42% employed in the creative
industries.
The top two LOMO cameras ranked in this survey are the LOMO LC‐A and the Diana+. An interesting
finding from this survey is that 38% of Lomographers consider their lifestyle more digital than
analogue. A provisional breakdown of some aspects of the survey is provided in Appendix G.
1.4 Chapter Schema
Following this introduction, we review literature relevant to our study in Chapter 2. Chapter 3
explains our research methodology in detail; included in this section is the way we chose and
categorized our respondents, conducted our research, and the definitions of the concepts used in
this study. Chapter 4 discusses our research findings. This is followed by Chapter 5, which
summarizes key discussion points in this study. Chapter 6 ends this study by examining our
limitations, suggestions for future research and a concluding statement.
3
Chapter 2: Literature Review
Only its creators and enthusiasts used the earliest cameras, and it was a complex artistic activity with
neither professionals nor social use (Sontag, 1977). Industrialization popularized photography, and it
has since been widely practiced (ibid). The camera had thus become a device people use for
experiencing the world (ibid).
Photography raises important and unprecedented questions that have not surfaced in traditional art
forms (Peterson, 1980). Thus, these questions have been left unexplored in traditional theories (ibid).
Our literature review aims to understand the concepts required for understanding and analyzing
Lomography as a possible art form and social movement.
Ansel Adams divides the key aspects of understanding photography into different faucets with his
three books ‐ The camera, the negative and the print. We will adopt a similar model by focusing on
the camera and the resultant image in the first two segments of this literature review. This will be
followed by a study of Barthes’s (1980) ‘Camera Lucida’ and concepts important in understanding the
nature of social movements.
2.1 The Camera
Like the divide between technological and social determinism in psychological studies, much of
photographic studies focus mainly on its medium, i.e. the camera. The emphasis placed on the
camera has come to be called medium analysis. Medium analysis champions the school of thought
that there would be no image without the camera i.e. the camera is the most important factor in
understanding photography.
The photographic medium allowed art to attract large followings (Peterson, 1980). The photographer
is both restricted and empowered by the capabilities of the camera he carries (ibid).
Mark Sink in Lomographic Society International (2008, p.102) says, ‘It’s all about the camera
[laughs].’ Though he believes that the photographer plays a role, the fact that museums are
collecting cameras (and not prints) is testament to his view (Lomographic Society International,
2008).
In the Lomographic arena, Allan Detrich is the world’s most extensive collector of ‘Diana’ cameras
and clone variations. He loved the ‘dream‐like effect and the simplicity of its use’ (Lomographic
Society International, 2008, p.125). To Tony Lim, no two Dianas were exactly the same; they are
consistently inconsistent (Lomographic Society International, 2008). This made Lomographic cameras
(i.e. the medium) interesting for the user as the medium adds an element of surprise to the resultant
image.
Critics of medium analysis, however, believe that the work of art should exist in the minds of its
creators (Peterson, 1980). The mechanical process of image making has pushed out an element once
considered important in creating art pieces, which is human interaction and activity (ibid). There are
strong advocates in the belief that the photographer determines the outcome of the image. He does
so using good composition techniques, or aesthetic design to complement the subject (Patterson,
2004).
To critics, medium analysis is seen as insufficient due to the mimetic properties of photography.
Furthermore, the camera may not see exactly as the eye does (Patterson, 2004). There will always be
a difference between what the eye sees and the actual reproduction of the image in terms of colors,
tones, depth etc.
4
Academics have stood by the claim that the photographic medium is neither objective nor subjective
(McQuire, 1998), and that the photographic processes are neutral (Peterson, 1980). This places
emphasis on the photographer in visualizing the end product of his image instead of the camera
(ibid).
Though the individual reigns sovereign, there is the possibility of him having been subjected to a
normalizing discourse (McQuire, 1998). This suggests that the photographer can never be fully in
control of the images he is making. He is restricted to the mimetic capabilities of the medium.
Though he has the power to remove an element by not framing it, he has no power create something
that is not in the image.
Lomography differs from mainstream analogue and digital photography as it seeks to reduce the
presence of the medium and focus on the activity of image creation; this is exemplified in the 10
golden rules of Lomography (Appendix F). In Lomography, we see a shift from traditional medium
analysis to understanding the photographer in creating an image.
2.2 The Resultant Image
There are ‘four “surprises” that attract people to images’ (Barthes, 1980, p.33). They are,
1) Rarity
2) The Gesture
3) Prowess
4) Contortions of Technique
Each of these creates a form of ‘shock’ that causes people to cast a second glance at the image
(Barthes, 1980). Studium and punctum are important elements that determine one’s attraction to a
photographic image. Due to its importance it will be explained and explored in further detail in the
following section.
‘The camera is always pointed at a subject. Occasionally, only one of the camera’s
photographs points away from the subject, toward the mind, or the heart, or the
imagination.’ ‐ Minor White, in Norman Peterson’s (1980) Photographic Art.
White believes that images are not the end product, but merely a catalyst that triggers further
thought (Peterson, 1980). His view is echoed in Barthes’s (1980) Camera Lucida (Part 2), when he
searches in vain for a photographic image that best represents his mother. He finds this in the
‘Winter Garden Photograph,’ an image of his mother as a child. This image did not represent the
physical image Barthes had of his mother, but he recognized her for her bashfulness and other
qualities in which he knew she possessed. Barthes looked into himself, about what he understood of
his mother in essence, and in the ‘Winter Garden Photograph,’ he found the image that he felt best
represented his mother. This reinforces Minor White’s quote that images have to power to point
both to the mind and heart.
All objects have a form of value; it can be emotional or capital etc, and have absolutely nothing to do
with the subject matter (Berger, 1972). Sometimes, images gain in popularity because of the capital
value others place on it. Berger (1972) gives the example that ‘the national gallery sells more
reproductions of Leonardo’s cartoon of The Virgin and Child with St. Anne and St. John the Baptist
than any other picture in their collection’ (Berger, 1972, p.23) simply because someone wanted to
purchase it for 2.5 million British pounds (Berger, 1972) earlier.
5
Reproduction can have an effect on an original image (Berger, 1972); the problem may not lie in
inaccuracy, but in the fact that the reproduced image can be used for various other purposes rather
than being hung up for viewing in a gallery (ibid).
Reproduction is one of the strongest properties of photography. The printed image ages with time. It
fades, tarnishes etc. but still holds the potential to look good1 (Sontag, 1977). Barthes (1980) has a
different view; he feels that when an image fades there is nothing more to do but to throw it away.
Though the two schools of though clash, the underlying caveat is that both recognize the importance
of the physical print. In a digital age where images are stored digitally, it would be important to
explore the importance of print media amongst photographers.
The ability to make countless reproductions is further enhanced with digital photography, which will
never fade away or lose its luster as opposed to conventional photography. Berger (1972) suggests
that reproduction has undermined the power of art and made it valueless and free. As compared to
digital photography, the printed film image is existent. This could be a strong motivation for adopting
analogue photography and Lomography, as the short‐lived nature of the film allows it to make on a
finite number of reproductions over time.
2.3 Studium and Punctum
Heidegger proposes the concept ‘aletheia’, or the pre‐sensing of that which is (Peterson, 1980). He
believes that once art becomes widely available what it discloses will be lost. It will then become an
ordinary object, and therefore lose its ability to change one’s experience through interaction with
the object (ibid).
This view is strongly challenged by Barthes’s (1980) concepts of studium and punctum. In Barthes’s
(1980) words, studium is the ‘application to a thing, a taste for someone, a kind of general,
enthusiastic commitment’ (Barthes, 1980, p.26). It is studium that attracts us to images. Punctum, on
the other hand, ‘is that accident which pricks’ (Barthes, 1980, p.27).
Studium can be referred to as the genre of photography. People actively seek out and view images of
genres that interest them. When a viewer recognizes an image’s studium, he understands the
photographer’s intention (Barthes, 1980). This creates a cultural contract between the two of them
(La Grange, 2005) as a form of understanding is achieved between photographer and viewer.
Punctum is the surprise factor that strikes the viewer. It is unintentional, subjective, excites the
viewer, and has the metonymic power of expansion (Barthes, 1980). To Barthes (1980), most images
are ‘invested with no more than just studium’ (Barthes, 1980, p.27). Punctum is often non‐existent in
most images we view.
At this point, we should not confused ‘shock’ with punctum (Barthes, 1980). The punctum is often a
detail, or a partial object in an image that strikes us (ibid). It can be physical, or an emotion that is
linked to the image. Very often, the punctum is recognized only when we recall the image in our
minds (ibid).
The studium is an objective element that can be coded; the punctum is its anti‐thesis. Both elements
co‐exist and often do not affect one another. Our hypothesis here is that the effect of punctum will
be affected due to the differences between Lomography and mainstream digital photography.
1
Sontag’s referral to faded images looking good may be subjective.
6
2.4 Social Movements
‘There is no social movement that is not borne along the utopian idea of its own
transcendence, therefore its victory and the destruction of its opponents’ – Touraine et al,
1987, p.21.
We begin this section by defining what social movements are. Social movements ‘want to construct
new collective identities that challenge subservient definitions of the group, whereas others construct
new identities as a means of promoting mobilization’ (Whittier, 2002, p.290). In the study ‘The
Contradictions of Gay Ethnicity,’ Bernstein (2002) believes that ‘identity movements seek to
transform dominant cultural patterns, or gain recognition for new social identities’ (Bernstein, 2002,
p.86).
It is assumed that new social movements, due to their deviance from mainstream thought, would
result in tension with mainstream ideals. There seems to be consensus amongst social movement
analysts that deviant social identities should seek to redress subservient views if it exists.
Lomography can be viewed as a deviance from mainstream digital photography, it would thus be
important to explore if similar issues exist in Lomography.
Social movements may want to inflict cultural or political changes, construct alternative institutions,
and normally have an active and formally structured organization (Whittier, 2002). They are highly
visible in action, establish strong networks, have collective identities and elaborate discourses (ibid).
In the Vermont movement, activists sought funds from OITM, and established contact with the
governor’s office (Bernstein, 2002). In the Workers’ Movement, the workers fought for their own say
in how industrial values should be established (Touraine et al, 1987). Militancy was firmly established
in their identity as workers lobbied for change (ibid). These examples show that lobbying and power
play an important role in the dealings of formal social movements and organizations.
Social and cultural changes are intertwined with and can aid meditation between social movements
and bring about the institutional change they need (Andrews, 2002). Whittier (2002) strongly
advocates that the external cultural‐political climate can affect the dynamism of social movements.
In response, social movements should strategize and interpret political opportunities, cultural
acceptability, benchmarks and change agents (Whittier, 2002). Bernstein (2002) extends this view by
claiming the duality between politics and identity movements. She believes that politics shape the
thoughts of activists and the activists would in term shape political thought through their actions
(Bernstein, 2002). The critical relationship between social movements and established intuitions such
as law and governance cannot be displaced.
It has been suggested that having ‘different organizations in a movement can promote diversity in
collective identity’ (Whittier, 2002, p.297). Similarly, Bernstein (2002) believes that ‘organizations
should recognize diversity within their membership’ (Bernstein, 2002, p.93). She believes that this is
a key reason for the failure of the feminist movement in Vermont. The Lomographic Society
International seems to be promoting such diversities with the establishment of satellite units, the
Lomographic Embassies. It would be interesting to explore how the Lomographic movement can
differ geographically with its satellite system.
Though it is agreed that there was a central locus to the worker’s movement, in Touraine’s (1987)
study of the Workers’ Movement, it is claimed that respondents had different perspectives of what
the movement was about. They had even suggested a different locus or time‐frame for it (Touraine
et al, 1987). This poses a problem for diversification in social movements.
7
Habermas advocates the concepts ‘system’ and ‘lifeworld’ (Habermas, cited in Edwards, 2007).
Though he offers it in a workplace context, we can transpose this and assume photography as the
system and Lomography the symbolic lifeworld we are studying. In the fire‐fighters’ dispute outlined
by Habermas firefighters protested against the changes of the system at work and centered their
activism on symbolic (lifeworld) aspects such as lifestyle issues and identity (Habermas, cited in
Edwards, 2007). We can assume that if Lomographers were to come under pressure to change, they
may center their dispute on lifeworld issues such as artistic expression and not the medium (i.e. the
Lomographic cameras).
Howley’s (2008) shows how media technologies can enhance activism in his study ‘Through an
Activist Lens’. He champions the use of activist video as a tool in promoting social change against
economic injustice and mis‐governance (Howley, 2008). To quote an example, footage of over 100
video activists were complied into the documentary ‘This is what Democracy Looks Like’ (ibid). A
contributing factor towards Lomography’s successful rise is the advent of digital media such as online
discussion forums, and the ability to scan film into digital formats for sharing. This is consistent with
Howley’s view that new media technologies can enhance the propagation of social movements,
though it is ironic that it propagates the spread of an ‘old media’ technology in Lomography’s case.
To summarize, social movements should fulfill the following aspects:
‐ Identity construction and change
‐ Promote mobilization of its members/supporters
‐ Advocate social political change and/or the creation of new institutions
‐ Formal organizational structure
‐ Have rich communities
‐ Elaborate discourses
‐ Frequent and visible activity
8
Chapter 3: Research Design, Process and Focus
Interview has been chosen as the primary method of research in our study. This will allow us to
probe into the rarely studied phenomena of the rise and sustainability of ‘old‐media’ in the new
media environment. Furthermore, interviews will allow us to address subjective issues related to
concepts we are testing for, such as studium, punctum, and the possibility of Lomography creating a
social movement.
3.1 Sampling
Lomography Digital Photography
Users 5 3
Corporations 1 1
Figure 1: Sampling Matrix
As shown in Figure 1, our initial strategy was a purposeful sample of 10 photographers to allow us to
obtain an all rounded and balanced view on the range topics covered. This is subdivided into six
Lomography respondents and four digital photography respondents to gain insight into
‐ Analogue photography’s survival through Lomography,
‐ Digital photography’s shortcomings (if any),
‐ Digital photographers’ views about Lomography and
‐ Whether if Lomography qualifies as a social movement
In the midst of conducting our interviews, we noticed that it is impossible to categorize respondents
as Lomographers or digital photographers. Most, if not all, respondents categorized as Lomographers
were also users of digital cameras. Many respondents categorized as digital photographers either
owned or have had contact with Lomographic cameras. Figure 2 in Appendix B shows a more
appropriate categorization of our respondents.
Respondents have been re‐categorized into a relative scale depicting their preferences for
Lomography or digital photography. This was achieved by asking respondents questions regarding
their cameras of choice and how often do they use their Lomographic or digital cameras as
identifiers.
Due to time constraints, we have only managed to obtain results from a sample of 7 respondents
instead of the original 10 we hoped for.
3.2 Process
Our respondents were interviewed at a suitable location subjected to their convenience. Light
refreshments were provided to ensure they are at ease during the interview. The interviews were
also voice recorded with consent for transcription purposes.
Questions based on participants’ photographic, educational and/or work background were collected
as identifiers. Pseudonyms will be used in this study to protect the identity of our participants.
9
3.3 The Interview Guide
The interview questions were devised according to literature review and seek to probe into the
differences between Lomography and digital photography in addressing the needs of professional
and amateur photographers, and in establishing Lomography as a social movement.
Interview questions are structured according to several general themes. These include
1) Background
2) Questions related to Lomography/ digital photography
3) Questions related to art
4) Studium and punctum
5) Questions related to social movements
3.4 Secondary Analysis
Our secondary method of analysis includes simple content analysis of websites etc. to support the
claims made by our respondents.
3.5 Areas of Focus
Based on the literature review provided, these are the list of questions that will be guiding the
research in this study.
1 What motivates people in adopting Lomography as a medium of choice?
2 What is the value photographers/Lomographers place on the camera and the image?
3 How does the digital medium restrict Lomographers and vice versa?
4 What is the relation of studium and punctum with the Lomographic or digital medium?
5 Can Lomography be considered a social movement?
6 How does digital communications/media aid in the spread of Lomography?
7 Are Lomographers deviant in nature?
3.6 Definitions of terms used
Based on observations2, there is much confusion over what Lomography is. Due to the changing
meaning of the word ‘Lomography,’ it has now come to hijack the meaning of the term ‘conventional
analog photography’. Online Lomographic forums now encompass all analog media, inclusive of
single‐lens reflex cameras etc.
2
Observations of online Lomographic forums prior to the conceptualization of this research have shown that
forum users often confuse conventional analogue cameras with Lomographic cameras.
10
For the purpose of this research, Lomographic cameras in this research are defined as cameras that
1) Have a maximum of
a. Three aperture settings
b. Three shutter settings3
c. Three distance settings
2) Are constructed of plastic (inclusive of optics)
3) Are based on the film medium
A non‐exhaustive list of Lomographic cameras (images included) is provided in Appendix D.
Mainstream cameras are defined as cameras that afford the user a wider degree of control over its
distance, shutter and aperture settings. It can be either digital or analogue in nature.
3
Aperture and shutter are the key elements a camera uses in manipulating the amount of light exposed on an
image.
11
Chapter 4: Findings and Analysis
This section has been organized to correspond to our guiding questions in section 4.1. Quotes from
our respondents are used in this section to support our analysis.
The determinants of analogue photography’s survival through Lomography
We start this section by exploring the importance of the photographic medium and resultant image,
and their associations with analogue photography’s survival through Lomography.
The Camera
The fun element attributed to the use of the medium is a common thread amongst our respondents
that justifies their adoption of Lomography. Peggy, Jill and Andy suggest that Lomography is strongly
associated with the term ‘fun’. When questioned, a number of respondents added that the element
of fun does not surface when they engage in digital photography.
‘It’s more relaxed.’‐ Charlie.
‘Part of the fun is in not knowing what you’ll get.’ – Nelly
‘The DSLR is still superior … the Lomo stuffs are more for fun.’ – Jill
Though Nelly feels that Lomography is merely a passing phase that will not ‘grow much more than it
currently is’, it works well as a ‘fun’ camera. Andy does more than just shooting with different styles
and making double exposures to make the Lomographic process more fun and interesting.
‘I modify them (lomographic cameras) by adding some masking effects… moving the shutter
a little bit to another camera’ – Andy
Modifying and transplanting parts of Lomographic cameras has created a myriad of different images
and effects for his works. As Lomographic cameras are cheap, he can afford to experiment with such
modifications, which he claims he cannot do so with digital cameras due to its relatively expensive
parts.
Surrealism further contributes to the fun aspect as you get quirky, unexpected images. Lomography
makes one’s surroundings look more surreal. Peggy and Charlie echo these sentiments.
‘(Lomography) twists your environment’ – Peggy
Our research supports the Lomographic Society International’s finding that 66% of their survey
respondents associate analogue photography (Lomography) with fun (Lomographic Society
International, 2008).
Another reason for the adoption of Lomography comes from Charlie. Coming from a mainstream
analogue photography background, Charlie finds Lomography mysterious. From an artistic
perspective, the medium is not important to him; rather, what is important to him is that the camera
achieves a certain effect he is looking for.
Charlie bought the Lomographic ‘Action Sampler’ camera to create a series called ‘A Second’. As the
camera takes 4 consecutive shots within a second on a single film frame, he used it to capture his
subjects ‘expression… about that little moment’ while communicating with them.
12
Our findings present a different paradigm from traditional medium analysis. Medium analysis
believes that the camera is important as it creates the image (Peterson, 2008). However, in the case
of Lomography, the medium is important not only because it creates the image (it creates
unpredictable images), but it is also important because it contributes to the fun element to the
process of making images. This challenges Peterson’s (2008) view that human interaction and activity
are lacking in the photographic process.
The Image
These findings have proven that the resultant image is as important a factor as the medium for
motivating users towards the adoption of Lomography.
‘As compared to digital photographs … the colors and effects don’t turn out to be like usual
photographs and it’s very interesting.’ – Peggy
‘The images look very old‐school’ – Jill
Many users such as Peggy and Jill were attracted to Lomography because of the appeal of the
Lomographic images’ saturated colors and deviance from mainstream images in appearance.
The value placed on the image and camera
We have found in our study that the survival of analogue photography and Lomography can also be
attributed to the value people place on the camera medium and resultant image.
The Camera
Respondents cited emotional attachment as key reasons for engaging in analogue photography and
Lomography.
“Digital gets obsolete very quickly so that’s one thing… There is no emotional attachment
because everything is almost done in a same way.” – Nelly
“(The film SLR) is the camera I have been using... to do my dream series. It has been with me
for about 6 years… one day I intend to frame it up.” – Charlie
The Image
As none of our respondents are professional photographers, they take photographs mainly for
personal interest. They thus do not place any monetary value on the images they create. We’ve
found that the value attached to our respondents’ work is more emotional and artistic than
monetary.
‘I do not like the idea to have a price tag on my stuff (images).’ – Charlie
Charlie has held 2 exhibitions thus far; similar to other respondents, he does not sell his works.
However, he often gives printed to others as gifts.
‘Somehow during that roll you have some shots you really like, you look back and it’s like
wow. Why did I get this photo from the same camera and now I can’t do something similar?’
– Andy
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Andy feels that the emotional value of Lomography is enhanced because of its unpredictability. The
fact that Lomographic cameras never consistently reproduce the same effect add on to this rarity of
each image and thus enhances Andy’s emotional attachment towards his favorite images.
Nelly adds that the film medium is physical compared to the digital file.
‘There is a certain tangible aspect about film and you’re holding the original copy, rather than
a digital image which can be duplicated.’ – Nelly
This reinforces Berger’s point that the ability to reproduce an image will undermine its value. In
comparing analogue to digital photography, we could assume that the emotional value
photographers place on digital images is lower as there is no tangible aspect to the image.
Thus the tangibility of the film image and emotional attachment to vintage Lomographic cameras
seem to be key reasons that explain Lomography’s survival.
The restrictions and enabling factors of the medium
The Camera
‐ Perfection
‘For digital (photography), there is a certain sharpness and cleanliness’ – Nelly
When engaging in digital photography, respondents feel a need to achieve technical perfection in
their images. There is a strong undertone here that suggests digital photography’s psychological
association with serious work compared to Lomography’s association with the term fun. Most
respondents answered that they would prefer a Lomographic to a digital camera when it came to
taking photos for leisure purposes.
‘That (digital photography) makes things more complicated.’ – Andy
‘Let’s say if I am doing a shoot or I am doing some coverage maybe I will do digital and if I am
doing for fun… I will prefer Lomo’– Peggy
‘For DSLR I will be more serious… I will try to capture the best of what I see. But for
Lomography, I think I will just snap and then I’ll anticipate what the effect will look like ‘cause
I don’t know what I just took. So it’s like for fun’ – Jill
A major limitation in digital photography is that it did not manage to incorporate fun in taking
images.
Andy suggests that the megapixel chase in digital photography has gotten him ’fed up’ over the
years. Our results suggest that digital photography is overly obsessed with the resultant image.
Lomography, however, enhances the process of taking photographs by creating a fun experience for
the photographer.
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‐ Weight
Most respondents explained that they find Digital Single Lens Reflex (DSLR) cameras too heavy and
that Lomographic cameras are lighter to carry around.
‘When I go out, then I just bring the light cameras out’ – Jill
‘Lomo is because … it very light to me. Weight is a kind of problem for myself so I prefer
something which is lighter’ – Charlie
As Lomographic cameras are constructed of plastic and utilize simpler designs, they are naturally
lighter than conventional SLRs or mainstream DSLRs. This contributes to why Lomographic cameras
form amateur photographers’ choice when shooting for leisure.
This finding could, however, be a misleading as our respondents are all amateur photographers.
When referring to digital cameras, it is always in reference to their DSLRs, which are inevitably bulky
and heavy. A better comparison would have to be made with compact digital cameras, which is
owned by the majority of the public.
‐ Surprise
Analogue photography and Lomography adds a surprise element to the image creation process. This
surprise element reinforces the fun element we have explored earlier.
‘For digital we tend to look at the screen after we shoot the image… whereas for Lomography
and using film… once you have taken a picture you don’t get to see the image until you
developed the film. So it creates a sense of like a surprise and you don’t know what’s going to
come out.’ – Peggy
‘If you take with the film then you don’t know what … you are taking so you can only see it at
one shot when you develop the film.’ – Jill
These views are echoed by Andy and other respondents who get their film results without knowing
what is in store for them. As Peggy has mentioned, this surprise factor cannot be achieved in digital
photography, as the photographer is always able to check the LCD preview of the images taken
instantaneously.
‐ The Gaze
Peggy feels uncomfortable using a DSLR when she’s out taking photos for leisure. With Lomographic
cameras, she does not ‘feel uncomfortable because the camera she uses does not need to focus.’ This
means that she can be shooting without having to look through the viewfinder. This similarly
enhances the fun element as suggested in the ‘10 Golden Rules of Lomography’.
‘DSLRs will attract more attention because of their size… Lomo because its small, people
won’t feel so intimidated… Nowadays security is… sensitive.’ – Charlie
The use of professional looking DSLRs and conventional cameras create problems with the
authorities at certain places due to sensitivities in security. Lomography overcomes this problem
easily because Lomographic cameras look more like toys than cameras.
‘(When) you’re carrying the red colored Diana (camera) they go ‘Is that a camera? Does it
really take pictures?’ – Andy
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DSLRs are overly conspicuous; Lomographic cameras are subtler in street photography, which many
amateur photographers engage in as a leisure activity. According to Andy, people don’t bother when
a Lomographic camera is used. Instead, the camera has the potential to create a topic for
conversation.
‐ The Power to Create a Social Movement
Photography, unlike team sports, is an activity that can be performed individually.
‘I am a sort of lone ranger.’ – Charlie
‘Usually if I were to go taking pictures, I would do it by myself. I think beyond a certain stage,
it’s difficult to uh, share.’ – Nelly
However, Lomography has the potential to group its members together through organized outings
etc. It has been observed in our primary research that Lomographers are more wiling to group
together for social events such as outings as compared to digital photographers. This lack in digital
photography may be due to its widespread nature.
‐ Restrictions of Lomography
Lomography does have its restrictions for photographers.
‘Lomo cameras need lots of light. And shooting kids they can be really fast. So those Lomo
cameras going to produce really blur photos.’ – Andy
‘If you’re very expert in Lomo… you can catch all the very good angles, the light and you
understand the aperture and shutter speed and like all the stuff. But for me, I’m still not at
that level yet so for the digital camera, I still can control more than the Lomo cameras.’ – Jill
Due to the lack of settings, Lomographic cameras are technically inferior compared to digital
cameras. As stated by Jill, you need to have a strong understanding of the basic concepts of
photography before you can understand how a Lomographic camera works. This will allow you to
fully manipulate and exploit its potential despite the lack of settings.
Costs also present a problem in analogue photography. As there are no fixed costs in digital
photography apart from the sunk cost in obtaining the camera, it is cheaper to use digital cameras
over time. This is a key reason why Charlie made the switch from conventional to digital
photography.
‘If you want to compare to film, film the cost will be much higher in some ways… One row of
films costs to me about tens dollars’ – Charlie
‘You buy film cameras cheaper but you have to spend a lot more on processing.’ – Nelly
The Image
Most of our Lomographic inclined respondents answered that the ‘Lomographic effects’ cannot be
recreated digitally.
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‘Shooting it from a real camera that gives that effect is more realistic… different cameras give
different kinds of effects… and you don’t get the same effect every time you shoot (using the
same camera).’ ‐ Peggy.
The reason why Lomographic cameras do not consistently give similar results is because of its plastic
construction (it was made to be this way). As Lomographic cameras may not be sealed properly,
effects such as light leaks into the camera cannot be controlled as such occurrences depend on the
intensity of light at the moment the image is taken.
‘You need not to put on make‐up on it (Lomography) to go and specially edit. To me it’s
(Lomography’s) a form of original stuff… I love raw stuff and personally I don’t really edit a
lot.’ – Charlie
‘Photoshop cannot achieve the kind of feeling that Lomo film gives you.’ – Jill
Though others may agree that professionals at image manipulation can do wonders with software,
the feeling of analogue photography and Lomography cannot be easily replaced. Post process
manipulation of digital images makes it feel less realistic to photographers. Since Lomography gives
more interesting effects, it has an edge over digital photography. Furthermore, some Lomography
inclined respondents feel that there is no need to edit images so as to retain its realism.
Digital photography inclined respondents feel that a ‘clean’ and clear digital reproduction of the
scene is more important. Also, the potential to ‘tweak’ the images after shooting enhances the
potential of the resultant image.
‘For film, even after scanning, it’s a 2nd generation image… Unless you have a top end scanner
which costs more than $10, 000, otherwise if you’re doing anything with a lesser scanner, it
(the image) is just not as clean.’ – Nelly
Here we see the traditional divide between champions of old and new media in digital and analogue
photographers. We are at a transition where both mediums have their pros and cons. For the
purposes of this research, we stop at highlighting the phenomenon that digital photographers
recognize digital images as superior and vice versa.
The importance of understanding Barthes’s studium and punctum
It is important to study the effects of punctum in affecting photographers’ choice of medium. We
had originally hypothesized that there would be no difference in punctum’s effects between digital
and Lomographic images for digital photographers. They should be able to experience punctum on
the type of image that they were more photographically inclined towards. However, our findings did
not support this hypothesis.
It is discovered in this research that most, if not all, photographers who have engaged in Lomography
have experienced some form of punctum with Lomographic images they are interested in. Though
results cannot be generalized because of our research method, we have found stronger instances of
punctum occurring in Lomography inclined photographers.
Peggy is interested in abstract images (studium), when asked to recall one such image; she recalls a
Lomographic image she captured of a signboard. The object that was in focus was the signboard. This
pierced her and aided in her recall of this image.
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‘The image has a specific focus point… it draws the attention.’ – Peggy
The blurring, saturated colours, vignetting and other properties that define Lomographic images may
also help enhance the effect of punctum amongst viewers. This is because such effects focus the
attention of a viewer at a single point in the image.
‘I’ll think that the lomo one will have colors that are more saturated and I like saturated
colors.’ – Jill
Andy’s experience with punctum is slightly different. His experience suggests that the unintentional
results obtained in Lomographic images contribute to experience punctum in recall.
‘I was doing a close‐up of it (the subject). When I looked in the viewfinder I could see the
whole head, the monkey. But it turned out, the head was gone…I was like wow, this is nice.
Without the head it’s cool.’ – Andy
As Charlie shoots mainly people, he feels a connection with the stories he knows of his subjects when
he views or recalls his images. These emotions pierce him, though it does not have to be specifically
a Lomographic or digital image.
Though Andy and Charlie did not feel that any element strikes out and pierces them, what they
experienced is in fact close to Barthes’s experience with the ‘Winter Garden Photograph’ of his
mother wherein the emotions and not the subject matter were more important in creating the
punctum.
Therefore, punctum experienced as a result of the uniqueness of Lomographic images could serve as
a contributing factor to the acceptance of Lomography as a medium of choice for amateur
photographers.
Lomography as a social movement
We will be analyzing this section according to the consolidated list of characteristics a social
movement encompasses.
‐ Identity construction and change
We have not found a strong sense of identity amongst our Lomography inclined respondents.
Instead, we have found that most respondents would first identify themselves as photographers.
‘I’m not very particular whether it is a Lomographer or digital photographer. I just treat it
(myself) as a photographer.’ – Peggy
Similarly, Andy does not consider himself a Lomographer. He feels that the term is ‘too
commercialized.’ Reasons for this failure can be attributed to the over‐commercialization of the term
Lomography and its vague distinction from the parent term photography.
Rose does not believe that her local Lomographic Embassy does anything to promote her identity as
a Lomographer.
‘I don’t think so, we are not celebrity you see.’ – Rose
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What we have found, however, suggests that the Lomographic medium can be used as a possible
tool for creating a sense of common identity.
‘Now I carry my (Lomographic) cameras out more often’ – Jill
‐ Promote mobilization of its members/supporters
Lomography has been able to mobilize its members and supporters though events such as outings
and collaborations etc., which we will be exploring in this segment.
Though it is not Lomographic in nature, Peggy has managed annual nation‐wide exhibitions and talks
for photographers twice for the society she is with. She also attends outings quarterly. Though Peggy
has never participated in a Lomography outing before but would be keen to do so if time permits
‘Unless… there’s an agreement between me and my friend, we decide to shoot Lomography
then we will just bring Lomo.’ – Peggy
‘If we both have the (Lomographic) cameras then we’ll just take (photos) together.’ – Jill
Jill and her peers to attend Lomography outings frequently, they do this as often as time affords. For
Jill, such outings are normally unplanned as they usually carry their Lomographic cameras along daily.
Lomography has got the power to draw people in through viral channels such as peers. A key reason
Jill adopted Lomo was because her friends were actively engaged in Lomography.
‘I think I’m catching on to their trends.’ – Jill
Andy has close friends he made through Lomography, and constantly introduces Lomographic
cameras to friends for them to try out. He believes that the friends who ‘survive’ in Lomography after
the initial phase do so because ‘they see the result and then they’re happy.’
On the user level, we have found that there are sparse groupings of Lomographers who attend
events and shoot often in their own cliques.
Our secondary research shows that Lomographic Embassies mobilize members through events such
as outings and exhibitions. The ‘More We Get Together’ sessions were started to promote bonding
and friendship amongst Lomographers in 2008. Images taken during these outings were then posted
onto an online image viewer www.flicker.com.
Based on primary and secondary research, there is both top‐down and bottom‐up approaches when
it comes to mobilization of Lomographers. However, as suggested by James, there may be strong
financial motivations, instead of social movement motivations, behind the Lomographic Embassies’
efforts.
‐ Advocate social political change and/or the creation of new institutions
According to our respondents, there are few subservient views against Lomography. Most
respondents suggest that Lomography and mainstream photography are on par as an art form.
Though Peggy and Jill feel that Lomography is more ‘artistic’ in nature, there are few subservient
views against their claims.
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When asked about what they felt art was,
‘Art is very subjective.’ – Andy
‘There is no right or wrong (to art).’ – Charlie
There is thus little impetus for Lomographers now to campaign for social change against negative
views on Lomography as an art form as such views do not seem to exist strongly at all in today’s
society.
However, there are historically documented cases of Lomographers campaigning against policy. The
Russian production plant for LOMO Compacts was due to cease operation in 1996 (Lomography,
2009). However, this plan was put to a halt after negotiations between Lomographers, the LOMO
factory heads and then vice‐mayor of St. Petersburg, Mr. Vladimir Putin (ibid).
Though the above‐mentioned case documents early socio‐political endeavor of Lomographers, there
will be little need for similar action in modern society, as the Lomographic society has now been
privatized.
‐ Formal organizational structure
This section will be explained with the aid of secondary analysis (via viewing websites and personal
observation) as the Lomographic Embassies cannot be contacted for response.
The existence of international Lomographic Embassies strongly suggests the possibility of a
lomographic social movement with its organized corporate structure. As the Society is a main
supplier of the Lomographic products, it is able to control its members through the medium.
We have found that an informal, localized organization of Lomographers through local forums such
as www.lomotion.sg based in Singapore or Lomography Malaysia etc operates along the formal
structure. These forums enhance the capabilities of the local Lomographic Embassies by providing a
platform for interaction amongst its members. It helps to promote mobilization of members in a
bottom up approach as members can organize their own outings and promote their own events on
the forums, such as exhibitions.
James is the creator of a Lomographic forum.
‘(The motivation was to) find a community, find people of the same interest … (I) did not find
any at all when I returned’ – James
Comments from James have revealed that link between the informally organized forums and the
formally organized Lomographic Embassies are weak in nature. The formal organizational structure
has failed to fully tap on the social resources available to them.
‘Because we work really on individual… like if they have events, we’ll post on our forums… not
really support.’ ‐ James
‐ Have rich communities
Lomography has created rich communities amongst like‐minded people. Peggy posts her Lomo
images online under the Lomography section of the website she visits. She makes two to three posts
weekly on average. Similarly, Andy makes two to five posts on Lomography forums daily.
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‘I’d say they’re (Lomographers) more, you know, closely knit and friendly.’ – Andy
Lomography also forms rich communities with its power to enhance collaboration in the image
making process. Andy collaborates with Lomographers out of his country by doing doubles (a process
whereby one person shoots a roll of film, and passes it on to someone else to use it over again
before processing. This creates an image overlay on the original). Plans like these are put into action
via contact through forums or the Lomography website.
‘The most recent one was about a few weeks ago. I did a collaboration with a guy from the
U.S.’ – Andy
‘We did send overseas, like the film we take one exposure then we send overseas and that
guy take the second exposure… That is the element of surprise, you don’t know what you are
going to get.’ – James
The richness of Lomographic communities can be found by tracking Lomographers’ activities online.
Like our participants, many people participate actively on various Lomographic forums by posting
often. Secondary analysis of the Lomographic Society International website shows daily Lomohome
updates and simple analysis of www.Lomotion.sg shows forums that are updated daily with rich
discussions going on about posted works etc.
‐ Elaborate discourses
Most of the writing on Lomography comes in the form of books such as the ‘Diana+: True Tales and
Short Stories’ sold by the Lomographic Society International. Such books normally outline people’s
feelings and interactions with their cameras and are more product‐centric rather than discursive in
nature.
Strong traces of elaborate discourses regarding Lomography as an art or other purposes have not
been observed in our study.
‐ Frequent and visible activity
Lomography events such as exhibitions are well attended.
‘An exhibition by Lomotion… not bad, but I think because it’s quite small‐scale.’ – Jill
‘Here in Singapore there are not that many kind of Lomo exhibition… most of the time it’ll be
the ones organized by Lomotion.’ – Andy
The reasons for attendance are because of the social interactions at such events and the ability to
see the printed image up close.
‘There’s no pressure…. you get to see most of their work, although most of it you’d have seen
them in the forums. But (when) you see them on print it’s totally different. You get to see the
whole thing as a Lomo wall.’ – Andy
‘To see the hot air balloon there (in KL)… and meet up with the Lomo‐Malaysia people for an
outing’ – James
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James attends Lomographic Embassy events frequently due to his connections with the Lomographic
Embassy staff. He was one of the selected Lomographers for ‘Lomo Loves Local: Lomo + Electrico
collaboration,’ where he was invited to shoot the new album covers for a local band with his
Lomographic camera (Lomographic Embassy Singapore, 2009).
Lomographic activity can be easily viewed from the list of Lomographic events going on around the
world. These events can be organized by lomography enthusiasts, such as the organization of outings
amongst friends; they could also be events organized by the Lomographic Society or its Embassies.
Some of the events organized by the Lomographic Embassy in Singapore in 2008 include ‘Lomo Loves
Local: Lomo + Electrico collaboration’ mentioned above and the ‘More We Get Together Lomography
Sessions’ (Lomographic Embassy Singapore, 2009), which is a series of outings organized by the
Lomographic Embassy in Singapore.
Digital media’s contribution to the resurgence of ‘old media’
Analogue images can be converted into digital formats through the use of dedicated film scanners.
Many of our Lomography inclined respondents do not print their Lomographic images but instead
scan them at home using these technologies.
‘Normally I’d scan them. I do print them once in a while, those that I really like.’ – Andy
The convergence of analogue and digital technologies has enabled analogue photographers to view
their images like digital images and host them online for viewing.
‘If some of the images are good I will put it up on my online gallery.’ ‐ Peggy.
Digital media also enhances the collaborative effort amongst Lomographers through the use of
online communication channels such as forums.
The collaboration James did with Manila Lomographers took place when one of the Manila
Lomographers visited his country. The ‘doubles’ film swap made during this meeting was coordinated
online via the Lomography forums. In the Kuala Lumpur trip mentioned earlier, the ties with Lomo‐
Malaysia were also maintained online via the Internet through the years. James thus finds himself
traveling around the region for such events ‘more and more often’ with the aid of communicating
using digital technologies.
The contribution of digital technologies in propagating enhancing communications has been amply
discussed over the years. Thus, for the purposes of this research we’ll stop at making the claim that
digital media has contributed to the spread of Lomography via the channels mentioned above.
Deviance in Lomographers
There appears to be a duality in how others view Lomography. Further research will do well to
research into claims regarding this phenomenon. The following responses suggest that strong and
open subservient views against Lomographer do not exist.
‘My friends are not very professional in photography so when they see the Lomographic
cameras… they will be very curious… But they won’t discriminate.’ – Jill
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‘I think that it (Lomography) brings about a greater appreciation of photography. S, overall I
think it’s good for the industry.’ – Nelly
‘They didn’t really say that they don’t like (Lomography). You know you can feel the sarcasm
in what they say.’ – Andy
Most of our respondents repled that they do not see a need to move away from mainstream
channels. This implies that Lomographers do not see themselves as deviant in nature.
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Chapter 5: Discussion
5.1Studium and Punctum as a shifting concept
As a genre, Lomographic images with their characteristics may create a studium that enthusiasts
search for. Its studium creates a following, as people are attracted to its quirkiness and maverick
methods.
The simple experiment we conducted during the interviews to test for punctum has yielded positive
results. Barthes’s theories have not been amply explored in the arena of photography.
Before the interviews were conducted, we hypothesized that the Lomographic medium will enhance
punctum for Lomographers due to its enhanced colors, blurring etc. Though punctum was tested
positive in most Lomographers, these results cannot be generalized due to our research method.
Furthermore, the results obtained may have been happenstance due to its subjectivity.
Expanding Barthes’s thoughts, punctum need not be a static concept. When one becomes
accustomed with punctum of images over time, there is a possibility that punctum may shift to
become the studium that a viewer intentionally seeks in an image. The original images may thus lose
their punctum status, or a new element may arise to replace the original punctum.
5.2 The survival of Lomography
The techno‐centric view assumes that the move over to new media technologies such as digital
photography over time will be linear. The resurgence of analogue photography in the form of
Lomography is thus seen as deviant in technological advancement.
In this study, we have tried to analyze whether if there are shortcomings in digital photography that
causes the backwards induction into adopting Lomography. What we have observed is that digital
photography does have its strengths, such as instantaneous results, ability to tweak and manipulate
the image etc.
Not knowing what the resultant images would turn out like makes Lomographers treasure their
images more as the camera may never give a similar resultant image. However, Lomography
provides photographers more than just quirky and unexpected results. Lomography enhances the
image creation process by making it more fun and exciting. Respondents have suggested that
mainstream digital photography has become stigmatized with ‘serious’ work and that Lomography
adds the fun element in the process of image creation.
What we have observed in this research is the survival of Lomography beside the advent of new
technologies such as digital photography. An unintended consequence of new technologies is that it
gradually phases out older technologies due to its gradual adoption.
This did not happen with Lomography because photographers do not see mainstream digital
photography as a substitute. We have observed that photographers have their rationale for adopting
Lomography. Through branding efforts and its unique properties, Lomography has survived by co‐
existing with digital photography. Lomography has made the experience of photography more
complete for photographers.
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5.3 Does Lomography qualify as a social movement?
Based on the above‐mentioned findings and analysis, Lomography resembles a social movement in
many aspects. Table 1 summarizes the criteria Lomography fulfils as a social movement
Identity construction and change X
Promote mobilization of its members/supporters O
Advocate social political change and/or the creation of new institutions O
Formal organizational structure O
Have rich communities O
Elaborate discourses X
Frequent and visible activity O
Figure 3: Social movement aspects of Lomography
(O denotes present and X, absent)
The list of social movement aspects we have devised was generated from the literature review of
movements that were strongly political in nature. Thus, the lack of discourses in Lomography will not
disqualify it from being a possible social movement.
However, as collective identity is an important aspect in social movements, the lack of such feelings
amongst our respondents disqualifies lomography as a social movement.
Though lomography fulfills other aspects of social movements and has a formal organization in place
with the Lomographic Society International, it does not gel up seamlessly from a macro perspective.
There seems to be little correlation and contact between the Lomographic Embassy’s work and that
of the local forums. For instance, collaborations performed internationally amongst Lomographers
have little or nothing to do with the Lomographic Embassies. The informal activities seem more
robust compared to that of the Lomographic Embassy in mobilizing people and contributing to a
sense of identity.
Attaching the term ‘social movement’ to Lomography would thus be problematic. Based on our
findings, it is safe to assume that Lomography is a collective social experience, one with the potential
to become a formal social movement.
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Chapter 6: Conclusion
The resurgence and survival of analogue photography through Lomography is a rare phenomenon
that has been observed in recent years due to the mixture of factors we have discussed in this study.
Lomography has provided a fine example against the assumed linearity of technological
advancement.
Though it cannot be termed as a social movement, it is slowly catching on in popularity amongst
youths as a collective social experience.
6.1 Contribution of thesis
This thesis is a general exploration into the field of Lomography and digital photography; both of
which have not been academically studied in much detail in recent years. Though results cannot be
generalized due to the reliability of the interview method, the study has raised a series of questions
regarding what future research can delve into using other research methods.
In this thesis, we have proven that the adoption of new technologies need not be a linear process, as
it was with the relationship between Lomography and digital photography. This will enable ‘old’
media to think of ways to rebrand their image in order to survive along new media technologies.
We have also disproved the notion that Lomography is a social movement and instead re‐categorized
it as a collective social experience shared by users of Lomographic cameras.
From a business perspective, designers of digital cameras can look into ways of incorporating the
element of fun into digital photography, and how digital photography can overcome the various
limitations we have observed in our research.
6.2 Limitations of study
This study is limited by its research method. Interviews are good for probing into new fields such as
Lomography; but the results we have obtained cannot be. Furthermore, as the results are coded and
analyzed by one researcher, there is a high possibility of bias in its analysis.
Results obtained in this study can be assumed to be reliable as the topic is not sensitive in nature.
However, there is no way to tell if respondents are telling the truth or merely giving ‘politically
correct’ answers, which may affect this report’s validity.
Due to the duration of study, its scope may be limited, as only certain key theories in photography
have been explored. With more time, the study can be expanded to incorporate more aspects of
photography.
The secondary content analysis was conducted on a casual basis. There may be bias in the results as
the researcher knows what he is looking for i.e. there is no comparison against other forms of online
content.
As this study was conducted within the geographic constraints of Singapore, culture may play a
pivotal role in affecting findings. Culture may bring about strong and vibrant discourses and
subservient views regarding Lomography as an art form, which have not been observed in our
research.
As the Lomographic Embassy in Singapore could not be contacted for their views on various issues,
we have lost an important source in analyzing Lomography as a social movement.
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In the course of conducting this research, we have found overlaps between what constitutes a
mainstream digital photographer and a Lomographer. It has been stated earlier in Lomographic
Society International’s survey that most Lomographers shoot on the digital medium as well.
However, we have noticed that most digital photographers have also had contact with Lomography
as well. This has affected the research’s selection process as we have had to re‐categorize our
respondents after interviews were conducted.
6.3 Suggestions for further research
In this exploratory study, we have discovered that there are a myriad of topics that can be
researched in future. We start off this section by suggesting a list of possible topics (non‐exhaustive)
future studies can look into in more detail.
‐ What are the key determinants that can create identity amongst Lomographers?
This research should be conducted in a quantitative method that uses the survey method. By
correlating/ conducting regression analysis on the independent variables (determinants)
against the dependent variable (identity), we will be able to find out what users consider
important in forging a common identity in Lomography.
‐ Is photography a social movement?
Most factors contributing to lomography as a possible social movement may also be present
in digital photography. As respondents have suggested that they view themselves as
photographers more than Lomographers, it would be interesting to know if photography
qualifies as a social movement, and if so, what kind of social movement it is.
‐ Under what conditions does punctum occur and is punctum a shifting concept?
Punctum would help us understand the subjectivity behind viewer’s interest in an image. To
better test for punctum, experiments can be devised so that there can be a comparison
against a control group. However, reliability will be an issue in the experiment setup and
punctum may not be easily observed due to its subjective nature.
‐ What is the correlation between deviance and adoption of Lomography?
Deviance was not observed amongst Lomographers in our study. However, other research
methods such as surveys can better test for deviance behavior. This would also allow us to
generalize the findings due to the methodology adopted.
‐ Are there subservient views against Lomography as an art form etc?
As we have noticed that culture may affect our results, this study should be replicated in
another geographical context where discussions about art etc, are more robust, vibrant and
discursive to answer the above question.
‐ What is the relationship between Lomographers and the Lomographic Society?
As mentioned in this report, we have not managed to contact an importance source of
information as the local Lomographic Embassies were not contactable. An international
survey can be made amongst Lomographers internationally. The results can be compared
with interviews of key personal in the Lomographic Embassies for consistency.
27
‐ What are the factors contributing to the survival of ‘old media’?
Transposing our research question one level higher, future studies can delve into other
factors contributing to the survival of old media in the new media environment.
Key elements of this research can be replicated in a quantitative manner to establish reliability.
Information obtained in this research can be made to redefine the boundaries of what defines a
persona as a Lomographer or digital photographer before similar studies are carried out in future.
28
References
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D.S., Whittier, N. and Robnett, R. (eds) Social Movements: Identity, Culture and the State. New York,
USA: Oxford University Press: 105 ‐ 123.
Barthes, R. (1980) Camera Lucida: Reflections on Photography. USA: Hill and Yang.
Berger, J. (1972) Ways of Seeing. UK: Penguin Books Ltd.
Bernstein, M. (2002) ‘The Contradictions of Gay Ethnicity: Forging Identity in Vermont‘ in Meyer,
D.S., Whittier, N. and Robnett, R. (eds) Social Movements: Identity, Culture and the State. New York,
USA: Oxford University Press:85 ‐ 104.
Edwards, G. (2007) ‘Habermas, Activism, and Acquiescence: Reactions to ‘Colonization’ in UK Trade
Unions’, Social Movement Studies, 6(2), 111‐130.
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Kozloff, M. (2000) The Social Scene. Los Angeles, USA: The Ralph M. Parsons Foundation Photography
Collection at the Museum of Contemporary Art.
La Grange, A. (2005) Basic Critical Theory for Photographers. UK: Focal Press.
Lomographic Embassy Singapore (2009). Past Events (Internet) Available From:
http://www.objectifs.com.sg/shop/lomo.htm#past Accessed 01.01.09
Lomographic Society International (2009). The Story (Internet) Available from:
http://www.lomography.com/about/ Accessed 01.01.09
Lomographic Society International (2008). Diana+: True Tales and Short Stories. Lomographic Society
International
McQuire, S. (1998) Visions of Modernity. Britain: Sage Publications Ltd.
Patterson, F. (2004) Photography and the Art of Seeing: A visual perception for film and digital
photography 3rd Edition. Canada: Key Porter Books Limited.
Peterson, N. (1980) Photographic Art. Media and Disclosure. Michigan, USA: UMI Research Press.
Sontag, S. (1977) On Photography. USA: Farrar, Straus and Giroux.
Touraine, A., Wieviorka, M., Dubet, F. (1987) The Workers Movement. New York, USA: Cambridge
University Press.
Whittier, N. (2002) ‘Meaning and Structure in Social Movements’ in Meyer, D.S., Whittier, N. and
Robnett, R. (eds) Social Movements: Identity, Culture and the State. New York, USA: Oxford
University Press: 289‐308.
29
Appendix A ‐ Interview Guide
Questions are devised to find out the motivations behind participating in Lomography and also if
respondents view Lomography as an art and social movement. It also seeks to probe into the possible
failure of digital photography in addressing the needs of amateur photographers. Questions need not
follow a specific order and serves only as a guide.
General
1. Demographics – Age, Occupation
2. Psychographics – Interests
3. How did you start off with photography?
4. Did it change your life or the way you view things any differently?
Lomography
1. What attracted you to Lomography?
2. Use one word to describe Lomography.
3. Do you only shoot on analog?
4. How many Lomo cameras do you own and what are they?
5. How often do you use them?
6. Are there shortcomings in analog/ digital photography that caused this?
7. What is it that you can achieve in Lomography that you cannot with conventional analog
digital photography?
8. Do you participating in digital photography forums and outings?
9. How would you describe the process of creating your Lomographic images? Is it any different
from conventional photography?
10. Do you feel a need to move away from mainstream channels? If yes, please explain. (Deviant
behavior)
11. What do you do to make your Lomographic process/images interesting? (10 Golden Rules)
Art and Lomography
1. What do you do with your images after you process them?
2. What do you consider ‘art’?
3. Do you see Lomography as an art form?
4. Are there any images you could provide as examples?
5. How does this contrast to digital photography, could you create a similar effect with digital
photography?
6. Do you place a value on your work? What is this value? Is it monetary etc?
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For Digital Photographers
1. What is your camera of choice?
2. Is there a reason for doing so?
3. Why not analog/ Lomographic cameras?
4. Have you tried one before?
5. Do you do any manipulation to make your images interesting?
6. Do you think you could create similar works with Lomographic cameras?
Studium and Punctum
1. What genres of images do you normally take and enjoy viewing?
2. Do you actively search out these images?
3. If we assume that there are 2 similar images, one taken with a digital SLR and the other with
a Lomographic camera. What is the difference you see in them?
4. Is there any element that pops out more strongly from either image?
5. Now try to recall both images, which one do you recall more strongly and why?
6. Is there a particular element you recall now?
Social Movement
1. Do you identify yourself as a Lomographer?
2. If yes, how do you do so?
3. Have you collaborated with others before? How and when?
4. How often do you visit exhibitions?
5. Do you actively participate in Lomographic forums?
6. Do you actively attend their events?
7. If yes, what kind of events and how often?
8. Do you have a close group of friends you made from Lomography?
9. Are you the kind of person who will organize Lomographic outings for your friends?
10. How do you feel when people look at you if you are carrying your Lomo around?
11. Are there subservient views from mainstream photographers about your work?
12. How strong is your emotional attachment to your Lomographic cameras?
13. How does this contrast to your digital cameras? (Explain)
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Appendix B – Interview Respondents’ Identifiers and Inclinations
Pseudonym Age Gender Occupation Experience in Experience Inclination
Photography in
Lomography
Figure 2 ‐ Relative inclinations of respondents towards Lomography or digital photography based on
responses.
Lomography
X X
James and Rose Andy
Peggy and Jill X
Charlie X
Nelly X
Digital Photography
Figure 2
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Appendix C ‐ Interview Key Findings
Identity as a Lomographer/ digital photographer
Peggy Not present; prefers the term photographer.
Jill Identity related to using the medium.
Andy Not present; feels that Lomography is over commercialized.
Charlie Identifies himself more as an artist.
James Identifies as a Lomographer.
Nelly Identifies as a digital photographer.
Rose Identifies as a Lomographer.
View of Lomography as an art
Peggy Lomography more a form of surreal art.
Jill More ‘artistic looking’ than digital photography.
Andy Art is subjective; Lomography can be a form of art.
Charlie The way certain Lomographic cameras work can enhance the art creation
process; such as the action sampler (takes 4 images on 1 frame in 1 second).
James Lomography is a form of art.
Nelly Lomography sustainable as a form of art but too much clutter around.
Rose N.A.
View on software being able to recreate the ‘Lomographic’ effect on a digital image
Peggy N.A.
Jill Possible to create the effect digitally but better to get it straight from the
camera.
Andy Not possible to randomly assign different effects to different images.
Charlie Possible to create the effect digitally but he does not have the expertise to do
so.
James N.A.
Nelly N.A.
Rose N.A.
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Perception of Lomography as ‘fun’
Peggy Yes. Element of surprise contributes to the fun of not know what you get.
Jill Yes. Element of surprise contributes to the fun of not know what you get.
Andy Yes. Digital too obsessed with megapixel chase.
Charlie No. The element of fun comes from experimenting with different artistic
concepts, not the medium.
James Yes. Tried various ways of shooting, not focusing, shooting from the hip etc.
Nelly N.A.
Rose N.A.
Value of/ emotional attachment to camera
Peggy Attachment to digital camera as it is more expensive than Lomographic
camera.
Jill More attached to DSLR. Life cycle of Lomographic cameras as she sees them as
a novelty item.
Andy Stronger attachment to his Lomographic cameras than digital cameras.
Charlie Emotional attachment to film SLR.
James N.A.
Nelly Places higher value on his vintages than his digital cameras as they can be
replaced. Digital cameras get obsolete quickly.
Rose N.A.
Camera of choice
Peggy Vivitar Ultra Wide and Slim (Lomographic camera).
Jill Lomographic cameras she owns.
Andy Lomographic LC‐A camera.
Charlie DSLR
James N.A.
Nelly N.A.
Rose N.A.
34
Effects of punctum
Peggy Found in Lomographic image because the image as a specific focal point
whereas other details were blurred out.
Jill Colours in Lomographic image help highlight certain points that ‘strike out’ at
her.
Andy Punctum occurred in Lomographic image of a toy monkey he shot, which did
not include the head in the print. This ‘happy accident’ aided his recall of the
image and ‘struck out’ at him.
Charlie Tested positive. However, punctum comes from recall of the interactions with
his human subjects. It can occur on either Lomographic or conventional
images.
James N.A.
Nelly Effects of punctum not observed.
Rose N.A.
Photographic/ Lomographic activities respondents participate in
Peggy Organized nation‐wide events due to her associations with a photographic
club. Attends outings with friends once in a while (not medium specific)
Jill Carries her Lomographic cameras everywhere. As long as the friend with her
also has a camera they would start taking photos together.
Andy Used to attend outings. Busy lately. Attends exhibitions often to meet up with
others. Actively involved in Lomographic forums and events. Collaborates with
Lomographers internationally with the aid of CMCs to do doubles.
Charlie Has hosted sharing sessions of his works but not actively involved in outings
etc.
James Very active in Lomography. Apart from attending outings and exhibitions etc.
He also participates in shooting ‘doubles’ and travels around the region to
attend Lomographic events and outings overseas.
Nelly Attends and conducts digital photography outings as he works in a
photography‐related firm.
Rose Very active in Lomography, travels around the region to attend Lomographic
events and outings overseas.
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Appendix D ‐ Images of Lomographic Cameras (with regards to our study)
Superheadz Blackbird.Fly Superheadz Ikimono 110
Lomography Action Sampler Flash Holga 120GN (sold by Lomography)
Lomography Diana F+ Edelweiss Edition Vivitar Ultra Wide and Slim
Images by Gerald Tay©
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Appendix E ‐ Samples of Lomographic Images
120 Format 120 Format
Holga 120GN Holga 120GN
Light leaks at corners observed Blurring at corners
120 Format 120 Format
Holga 120GN Holga 120GN
Cross processed slide film Double exposure on same film
135 Format 120 Format
Lomography Action Sampler Vivitar Ultra Wide and Slim
4 images taken in the span of 1 second Faded colours from expired film
Images by Gerald Tay©
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Appendix F – Lomography’s 10 Golden Rules
1. Take your camera everywhere you go
2. Use it anytime – day and night
3. Lomography is not an interference in your life, but part of it
4. Try the shot from the hip
5. Approach the objects of your Lomographic desire as close as possible
6. Don’t think
7. Be fast
8. You don’t have to know beforehand what you captured on film
9. Afterwards either
10. Don’t worry about any rules
Source: http://www.lomography.com/about/
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Appendix G – Analogue vs. Digital 2008 Survey Results
The following results are extracted from the Lomographic Society International’s ‘Analogue vs. Digital
2008’ survey.
2290 respondents participated in this survey for a week in July 2008.
Part 1: Which of the following words do you personally consider as more analogue or more digital?
Part 2: Demographics
Sex
Male 54.9
Female 45.1
Age
1‐15: 1.8
16‐20: 20.4
21‐25: 27.3
26‐30: 21.7
31‐35: 11.6
36‐40: 7.3
40 and up: 9.9
39
Level of education
University: 58.8
High school: 23.8
Grad school: 13.1
Secondary school: 4.3
Employment Domain
I.T/software development: 6.2
Food service/hospitality: 1.5
Creative/art/design: 41.6
Medical/health: 2.7
Teacher: 3.6
Social/medicin: 3.4
Accounting/finance/insurance/banking: 2.2
Administrative/clerical: 4.5
Crafts: 1.2
Manufacturing/production/operations: 2.9
Management: 4.4
Journalist/writer: 4.2
Research: 2.9
Others: 18.7
Do you consider yourself and your lifestyle,
More analogue 62.0
More digital 38.0
Do you interact with other users on social websites?
Yes: 76.1
No: 23.9
What is your favourite Lomography camera?
1. LOMO LC‐A
2. Diana+/Diana F+
3. Fisheye/Fisheye 2
4. Horizon
5. Holga
6. Colorsplash
7. Supersampler
8. Actionsampler
9. Lubitel
10. Smena