External Development

Abstract

In 2004, the only way to conveniently record audiophotographs was on an HP Photosmart camera, or on a ‘feature phone’ with MMS. Most other methods involved capturing images and sound clips separately and assembling them into combinations or narrative sequences in video editing software. A few other models of digital cameras or camcorders supported the annotation of photographs with voice labels, and photo browsing software sometimes allowed users to play a slideshow of photographs with accompanying sound. But these uses barely scratched the surface of the aesthetic and affective possibilities afforded by the audiophoto medium, as described in Part I of this book. As we have also seen in Chap. 7, the lack of a widespread standard for encoding audiophotos meant that the embedded sound JPG used by HP cameras was not interoperable with other devices or services. These particular audiophotos could not be sent by email or Bluetooth to other people for playback, or posted on a website in a form that would play.

The digital photographer potentially will be so thoroughly linked to a multiplicity of media, both as recipient and producer, that communication of whatever kind becomes more important than the singularity of the photographic vision. (Ritchin 2009, pp. 145–146)