Why bother preparing a meal from scratch, when you can microwave a ready meal in a fraction of the time? Similarly, some artists prefer to use existing images rather than their own. They 'take' photographs instead of making photographs. And why wouldn't they? We live in a digital world where Shore (2014: 7) believes that, "The online environment is a key hunting-ground for acts of creative, transformative borrowing."
After all, we live in an age where image matters. You haven't worn it, eaten it, been there, or done that, unless there is photographic evidence uploaded to your social network, tagged and shared with your friends, and friends of friends. With cameras fitted on phones, laptops and cars, it is so convenient to capture images 24/7. The Internet has become a global photographic archive, where we are all both contributors and curators. Almost everything, everywhere, and everyone you could want to photograph already has its place on Google images. So why bother going to all the trouble of making a new photograph, when you could just take someone else's? Shore (2014: 7) attempts to exonerate those who could be considered to steal such images by stating that, "We have an Internet full of inspiration: the profound, the beautiful, the disturbing, the ridiculous, the trivial, the vernacular and the intimate."
As I begin this course, I wonder how I will feel about using other people's images for my own ends.
Shore, R. (2014) Post-Photography. The Artist with a Camera. Laurence King Publishing Ltd: London.