The Future of Low-Light Photography
In addition to the new generalized tendencies, in what concerns photography and photographic technology, we can look at the future of photography in low light, from various perspectives.
We can refer to a future of uncompromising, spontaneous, yet well-treated themes in order to convey the changing present, allied to the imagination, fantasy and reality that are mixed thanks to sophisticated editing software that transmits quality, even in low light, to advanced image sensor technology that will produce sharp, even with low light, and generalized photos, as well as 360-degree photographs, images that can be viewed from all angles.
Regarding the accessories, the abolition of some and the addition of others, we can mention the drones that are being used a lot in photography and video, we are seeing an exacerbated use of this potential, but as far as photography is concerned a drones are not yet having the same use, with all the opportunities we can take. At the lighting level, the drones will be responsible for supporting accessories, which will remove the floodlighting by spotlights or traditional lanterns, and will give support of light, both presence lighting, main focus and even flash.
The influence that advances in the technologies of digitalization, capture, manipulation and image sharing have had in the democratization of visual expression will be even greater, the ease and simple and intuitive way of using an autofocus in daytime photography will be a new bet on photography of low light, where until now the manual focus and the "human eye and hand" had greater influence, and, in the end, the easiness will prevail.
Despite the enormous convenience in popularizing a technique that until very recently years was exclusively dominated by specialized professionals, the banalization of photography has its negative side.In today's, supply you with some easy-to-apply suggestions or advice for enhancing your Wild animals Photography on: http://drentchedphotography.com/best-canon-camera-for-wildlife-photography/.
The ease with which the digital image was manipulated turned out to be a problem. It is common among the new professionals an oversight in production, leaving no slip for retouching later. The volume of images produced is increasing, and all can be immediately revised, changed, erased or retouched later. The process can ensure a faster and more efficient workflow, but it will hardly guarantee better images. And it will rarely generate reflection or learning about them.
Photoshop, which came as an assistant for the finalization of images, began to carry out so much fake and cracked copies, which cast doubt on the idea of "truth" photographic, in the best soviet style. Of so much used, the neologism became pejorative. Many are proud to get "non-Photoshop" images, which is a superfluous preciosity, like an actor without makeup, but true.
The photography in low light, will become something banal, one of the main advantages so far, is the artistic use and the ability to create, each photographed place or object transmit several perspectives depending on who photographs them. In the future, global universality will make most of the photos look the same without creative ability.
Experienced professionals know that the richness of photographic expression is not in the support or retouching, but in the richness and unpredictability of the production of images, which has always generated great care.
The new digital cameras seem to have as goal the elimination of any possible defect. Manufacturers announce models capable of recording images in stunning ISO 204800, more than 2,000 times more sensitive than the old ASA 100 film. Motion-control technologies in new lenses seem capable of removing any unintended jitter.
We may be on the way to a world of perfect photos, altered only by the intention of its photographers. On the one hand yes, it is a good thing, but in the same way that the behavior problems of social media are not results of the technology, but of the desirous of its users, the reduction of artistic quality in contemporary photography is not caused by new techniques but by its abuse. And it can be easily reversed. As new professionals begin to develop their artistic signatures, it is likely that new aesthetics will emerge, rediscounting much of what is understood today by recording images.
Features such as panoramic photography, combined with 3D rendering techniques, can create new photographic environments closer to the stage than the illustration, and the nocturnal photographs will be authentic, between the real and the fantasy. Dynamic, Lytro-type cameras can be used to create cinematic movements in photographs. New immersive images will value the work of three-dimensional composition, still restricted to the complex and expensive techniques of cinema and animation professionals. Not to mention the creative use of drones and collaborative creation associated with new technologies of capture and visualization, creating new perspectives and obtaining higher angles of capture.
A new photographic aesthetic is about to emerge. It should be mutant, dynamic, revised and altered as a memory. New photographers should not reject technology, but embrace their potential to tell new stories. It is noteworthy that as technology evolves, there is always a group that wants to regress and, for example, discover and recreate analog photography. It is a salvation from photographic creation, to rebuild a future.