ontheimage.com

From Lauren Indvik at Mashable Tech…

More than a quarter of photos and videos shot by individuals in the U.S. are now being captured by smartphones, according to an online survey of 3,300 Internet users ages 13 and up. Sales data suggest smartphones are replacing consumers’ need for low-end point-and-shoot cameras and camcorders.

The percentage of photos taken with a smartphone went from 17% to 27%, a 44% increase from the year previous, according to a survey conducted by NPD Group. Meanwhile, sales of point-and-shoot cameras dropped 17% in volume and 18% in revenue in the first 11 months of 2011. Individual sales of pocket camcorders dropped 13%, with a 10% decrease in revenue.

Higher-end items performed better: Sales of cameras with detachable lenses (average price: $863) increased by 12%, and sales of point-and-shoot cameras with optical zooms of 10x or greater (average price: $247) grew by 16%. More…

From MITnews…

MIT researchers have created a new imaging system that can acquire visual data at a rate of one trillion exposures per second. That’s fast enough to produce a slow-motion video of a burst of light traveling the length of a one-liter bottle, bouncing off the cap and reflecting back to the bottle’s bottom.

Media Lab postdoc Andreas Velten, one of the system’s developers, calls it the “ultimate” in slow motion: “There’s nothing in the universe that looks fast to this camera,” he says. More…

From Bruce Davidson at The New York Review of Books Blog…

In the spring of 1980, I began to photograph the New York subway system. Before beginning this project, I was devoting most of my time to commissioned assignments and to writing and producing a feature film based on Isaac Bashevis Singer’s novel, Enemies, A Love Story. When the final option expired on the film, I felt the need to return to my still photography—to my roots.

I began to photograph the traffic islands that line Broadway. These oases of grass, trees, and earth surrounded by heavy city traffic have always interested me. I found myself photographing the lonely widows, vagrant winos, and solemn old men who line the benches on these concrete islands of Manhattan’s Upper West Side.

I traveled to other parts of the city, from Coney Island to the Bronx Zoo. I revisited the Lower East Side cafeteria where I’d photographed several years before. The cafeteria was a haven for the elderly Jewish people surviving the decaying nearby neighborhoods. I photographed the people I had known there, survivors from the war and the death camps who had clung together after the Holocaust to re-root themselves in this strange land. More…

From Emily Eakin in the New Yorker:

Onward and Upward with the Arts: Last February, Tacita Dean flew to London from Berlin, and upon arriving she called the manager of Soho Film Laboratory. She was on her way to assess the color in three 16-mm. films that she had sent there for printing. The manager had bad news: the lab was under orders, effective immediately, to stop handling such film. Dean intended to show the films at a major exhibition of her work that was scheduled to open in Vienna two weeks later, and she was planning another film, arguably her most important to date: an installation for the Turbine Hall, the colossal space at Tate Modern.

The challenges and possibilities of motion picture images made still.

Read more http://www.newyorker.com/reporting/2011/10/31/111031fa_fact_eakin#ixzz1clH9AlQ0 (subscription required)