Last year, the same chart, excluding Snapchat, showed 500 Million images a day and expected to double YTY. It has more than tripled.

What is it like, then, to be a female photographer, to be a woman who has seized hold of an instrument of which she traditionally remains in front, and to use her eye to view the world, rather than use it to throw back a soft, muted glance into the receiving end of a male gaze? It may sound primitive to talk of the female photographer in such a way, but as the photographers of Photoboite’s 30 UNDER 30 women will undoubtedly profess, resistance – or discrimination, even subtle – can be common even today. We will each have our own stories of how being a woman has hindered, or even unfairly aided, our pursuit of this profession.

But what if they had died and left behind rolls of film that no one ever developed, even as negatives? Do exposed frames even qualify as photographs or only as potential ones? How is someone supposed to know how to perform a “score” that the artist never finished?

This post was inspired by several recent online discussions attempting to define street photography. While there is no universal definition and everyone will have their own interpretation and methods, I believe there are a few general rules that virtually all will agree upon. 

Leica or no Leica, if you shoot film, this little film will make you want to go out and shoot a roll straightaway.

I frequently run into being asked by photographer how they can become better at writing about their own work. This is not an easy topic to talk about, certainly not without using specific examples. But I thought I’d do so anyway, in the hope that those who are interested in it might get something out of it.

It’s happened. Facebook, aka the free marketing platform we have come to know and love, now wants businesses and organizations to pay to engage with their own fans and followers. If you’ve noticed your reach and “likes” declining lately, you’re not alone.

Check out the campaign here and select offerings below.  Photographs will be added all through the week so keep checking in for more.

Ok, let’s assume the commitment level is there.  What is it really like to be a professional photographer in today’s world?

But this is just the beginning. In Levoy’s view (explained partially in this article), with the possible exception of photojournalism, “straight” photography is about to become a relic of the past. Instead, “everything will be an amalgam, an interpretation, an enhancement, or a variation—either by the photographer as auteur or by the camera itself—under manual control or fully automatically.”

Supported by the Impossible Project App, the ingenious device — first unveiled last year — allows you to mount your iPhone to its top, then convert your digital photos to instant analog ones. And by getting creative with how you use the film and the app, you can do a lot more than that, as UK artist Andrew Millar makes wonderfully clear in his new exhibition in Berlin.