I have just realized that by using Latitude and Longitude through Google Earth I am able to give a far more accurate way of identifying the location of my photos, than just saying 'the rocky coastline just west of Petrel Cove' in South Australia.
An example of a recent photo:--Lat:-35.5932 Lon:138.5978
GPS coordinates have also helped me to find a section of granite rocks along the coast of Deep Creek Conservation Park that I've wanted to walk and explore. I knew about them in a casual way, but I could not find their location until I came across a latitude reference to their location near Deep Creek Beach. I was interested because I wanted to continue to explore the relationship between photographic abstractions and nature whilst avoiding the genre of the landscape.
It will be a workout walking to and from the coast carrying 5x4 equipment. As the walk is around 6 hours so it will become part of the training for the forthcoming camel trek from Blinman to Lake Frome in South Australia in May.
Using GPS coordinates is part of trying to push the boundaries of photography in a conservative, visual culture that isn't really supportive of future thinking in the arts --- eg., with online photography. Australian is about property, agriculture or mining. In photoland the common view is that things are pretty okay as they are. The basic position is that there is little need to push the digital boundaries. Why bother? I am happy doing what I am doing. I'm content being in my own photographic groove and that is what matters.
And yet. The smartphone made photography available to anyone, and changed the notion of who is a photographer. The networked camera changed how we use photography to communicate. Snapchat crystallized the usage of photos as messaging, using photos to express ideas easier, faster, and better than just text, and at the same time making the photo itself far less important, more disposable, less permanent.
Consider Instagram, which has become central to our digitally mediated world with its unstoppable flow of online digital images. It is a a new means of distribution and a new means of communication which opens possibilities that didn’t exist before. Instagram is popular with photo editors and creatives who use Instagram to find new photographers to assign work to; with influencers and ad agencies who use it to market products; and with photographers who use it to showcase their work. It allows for visual jottings; one-liners; a way to tryout new ideas using a smartphone.
Instagram has a good grip on those photographers who publish/showcase their work online, despite it actually being a walled garden. What is published on Instagram stays on Instagram, and having a presence there doesn't really drive traffic to the photographer's website. There is limited conversation on it.
Instagram is about likes and this influences our photography. Instagram is a lifestyle platform that subtly encourages you to construct your photography to optimise the likes, as some kinds of photographs receive more likes than others. Even though it allows for ways to tell visual stories Instagram has become a marketing/branding tool increasingly shaped by the advertising industry.
So there is a need to do some future thinking about photography online: how can we create better online spaces for photography's networked digital images. The rethinking is to explore different ways to improve photography's online presence, to support an online conversation about contemporary photography, and to map, visualise and question the cultural dynamics and cultural value of 21st-century photography in a social media age. It is important because the photography industry has been eclipsed by the imaging industry and contemporary photography is increasingly being driven by AI. A1's pathway is towards augmented reality (AR) experiences.