Chosen by Ben Terrett,
Really Interesting Group
I’m excited about 3D printing, which sounds mad and obvious at the same time. Yes, it’s printing stuff out in 3D. Say you wanted to print a shoe? You can do that. Not a shoe like you can buy in Niketown, yet, but a plastic shoe. At the moment the technology is more suited to toys and small models but it’s evolving so fast that if you bought a 3D printer it would be out of date in six months. A decent 3D printer will cost about £10k at the moment. Sounds a lot but that’s the same price desktop printers were just before they really took off. Imagine if every home had a 3D printer? That’s when the mad ideas creep in. It’s yet another example of how designers have to learn how to design things that change, things that move and can be reformatted, things that don’t simply stay still on an A4 page any longer.
Chosen by Brett Foraker, creative director,
Ichose David Drebin because I like the cinematic quality in his pictures. Chances are you’ve seen some of his photos without quite knowing who made them. His work references pred-ecessors like Crewdson, LaChapelle and diCorcia but perhaps possesses an even greater sense of place. It is hard to find a photographer who is equally comfortable with personal and commer-cial work but Drebin’s attention to detail on both fronts gives him a real edge.
One reason I chose such a filmic imagemaker (as opposed to, say, a genius social documentarian like Alex Soth) is that he also puts me in mind of a growing trend. The rise of digital photography has led to the development of DSLRs with HD video – this means that professional photographers can shoot video as they shoot stills [see also p42]. It’s simply a matter of producing more sequential frames than was possible before. So far so good. But what is interesting is the evolving rights situ-ation in terms of owner-
ship of those frames. Traditionally photographers and live action directors have had radically different agreements in terms of ownership of the raw materials they produce.
This impacts copyright, and royalties and licensing for starters. But now that photographers are producing live action film and directors (who have traditionally had few ancillary rights) are producing stills, it’s clear that the financial models around both professions will change radically over the next few years.
But that’s all in the future, until then, enjoy the lush eye of David Drebin.
Lebanese-American poet, essayist and visual artist.
Chosen by Hans Ulrich Obrist,
The Serpentine Gallery, London
“It’s urgent to read Etel Adnan for the 21st Century.”