Collection Carla Murton
HELLO, MY NAME IS CARLA MURTON. I’M A 20 YEAR OLD LONDON BASED ILLUSTRATOR AND DESIGNER. LOVER OF ILLUSTRATION, GRAPHIC DESIGN, LETTERPRESS, SCREEN PRINTING, PHOTOGRAPHY... BASICALLY ANYTHING ARTY.
CREATIVE INDUSTRY PRACTICE
CREATIVE INDUSTRY PRACTICE IS A MODULE WHICH FOCUSES ON GAINING EXPERIENCE AND UNDERSTANDING OF THE PROFESSIONAL WORK PRACTICES, GIVING US INSIGHT INTO THE DESIGN INDUSTRY. THESE PROJECTS REFLECT REAL-WORLD SITUATIONS. THIS MODULE LOOKS TO HELPS US DEVELOP AN UNDERSTANDING OF REQUIRED PROFESSIONAL SKILLS SUCH AS: SOCIAL SKILLS PROFESSIONALISM NEGOTIATION DECISION MAKING PROJECT MANAGEMENT RECORDING COMMUNICATION PRESENTATION SKILLS
THIS BOOK IS A COLLECTION OF ALL OF MY WORK THAT I HAVE DONE OVER THE COURSE OF MY SECOND YEAR STUDYING ILLUSTRATION AT THE SIR JOHN CASS SCHOOL OF ART, ARCHITECTURE AND DESIGN. IT WILL GIVE YOU INSIGHT INTO MY RESEARCH, DEVELOPMENT AND OUTCOMES FOR ALL OF THE DIFFERENT PROJECTS.
PASTICHE 1560 PASTICHE
1. AN ARTISTIC WORK IN A STYLE THAT IMITATES THAT OF ANOTHER WORK, ARTIST, OR PERIOD.
WE CREATED A 15-60 SECOND VIDEO CLIP THAT DEMONSTRATES OUR CRITICAL THINKING ABOUT SOMEONE OF MAJOR PERSONAL CREATIVE INFLUENCE AND/OR IMPORTANCE.
ANDY WARHOL
ANDY WARHOL IS ONE OF THE MOST ICONIC ARTISTS. HE IS MOST FAMOUS FOR BEING A LEADING FIGURE IN THE VISUAL ART MOVEMENT - AKA - POP ART. HIS WORK EXPLORES ARTISTIC EXPRESSION, CELEBRITY CULTURE AND ADVERTISING. HIS WORK IS PRODUCED FROM A WIDE RANGE OF MEDIUMS INCLUDING PAINTING, SCREEN PRINTING, PHOTOGRAPHY, FILM AND SCULPTURE.
DEVELOPMENT AND OUTCOMES: WHEN IT CAME TO MAKING THE VIDEO, I KNEW THAT I WANTED TO MAKE IT BRIGHT AND REFLECT HIS MANY SILKSCREEN PAINTINGS OF MARILYN MONROE. WITH THIS IN MIND, I DECIDED TO EXPERIMENT WITH DRAWING, PAINTING AND DIGITAL PAINTING TO SEE WHICH ONE WOULD BE THE MOST SUCCESSFUL - AND UNSURPRISINGLY I ENDED UP USING PENCILS AS I FELT IT HELPED WITH PORTRAYING THE LIKENESS. I THEN WENT ON TO RECORDING A SPEED DRAWING OF WARHOLS’ FACE AND DIGITALLY COLOURED DIFFERENT FRAMES TO ROUGHLY RESEMBLE HIS SILKSCREEN PRINTING.
MARKET READY MARKET READY IS A GROUP PROJECT WHERE WE HAVE TO DEVELOP A PROPOSAL FOR LONDON MET’S CHRISTMAS MARKET @ BRICK LANE’S UPMARKET. WE HAVE TO DEVELOP A COLLECTIVE BRAND, DESIGN AND CREATE PRODUCTS; DEVELOP A PROMOTIONAL PLAN AND PROPOSE A DISPLAY FOR THE MARKET WHICH WE PITCHED TO THE STUDENT ENTERPRISE TEAM AT ACCELERATOR. THIS PROJECT AIM IS TO GIVE YOU INSIGHTS THROUGH WORKING ON PROJECTS THAT REFLECT REAL-WORLD SITUATIONS, AND WILL CONSOLIDATE BOTH DISCIPLINARY AND CREATIVE SKILLS, DEVELOP PROFESSIONAL CONFIDENCE AND NAVIGATE INDIVIDUAL AND COLLABORATIVE APPROACHES TO WORKING.
AS A TEAM, WE DECIDED THAT WE WERE GOING TO SELL TEA AND DECIDED STRAIGHT AWAY THAT WE WANTED OUR BRAND TO BE RELATABLE TO US, MAKING THE DESIGNS CREATIVE. WE EACH CREATED OUR OWN PACKAGING FOR OUR CHOSEN FLAVOURS, SHOWCASING EACH MEMBERS’ STYLE AND TALENT.
DEVELOPMENT AND OUTCOMES WITH MY FLAVOUR BEING CHOCOLATE BLACK TEA, THROUGH MY RESEARCH I NOTICED THAT MOST OF THE CHOCOLATE TEAS THAT I FOUND, THE PACKAGING WAS MOST COMMONLY QUITE PREDICTABLE BEING BROWN. THOUGH I DIDN’T WANT MY DESIGN TO BE “TOO OUT THERE”, I DIDN’T WANT TO PLAY SAFE WITH MY DESIGN. I EXPERIMENTED WITH DIFFERENT GEOMETRIC PATTERNS AND COLOURS AND MY FINAL DESIGN IS THE NEXT PAGE.
KICKSTARTER FOR KICKSTARTER WE HAVE TO DEVELOP A PROJECT PLAN AND PAGE ON THE CROWDFUNDING PLATFORM KICKSTARTER.COM. THIS WILL BE AN EXTENSION ON THE COLLECTIVE BRAND WE CREATED FOR MARKET READY. WE WILL CREATE A PROJECT PAGE FROM WITHIN KICKSTARTER INCLUDING A PROMOTIONAL VIDEO ALONGSIDE A PROPOSAL FOR A MARKETING/SOCIAL MEDIA PLAN. ONCE AGAIN, PRESENTING THE PROJECT IN A PITCH TO THE STUDENT ENTERPRISE TEAM AT ACCELERATOR.
FROM FEEDBACK FROM THE MARKET READY BRIEF, WE CHANGED THE LOGO FROM A ILLUSTRATIVE ONE TO MORE OF A SIMPLIFIED ONE BUT STILL KEEPING IT TEA RELATED.
NOW THAT WE HAD OUR LOGO REBRANDED WE COULD ALL MOVE ON TO WORKING ON OUR DESIGNATED PATTERNS. ON THE RIGHT ARE THE OUTCOMES OF THE OTHER GROUP MEMBERS AND THE ONE ABOVE IS MY PERSONAL OUTCOME. MUCH LIKE WITH THE MARKET READY PACKAGING, I WANTED MY DESIGN TO BE BRIGHT AND COLOURFUL. I CHOSE THESE COLOURS BECAUSE I THOUGHT THEY ALL COMPLIEMENTED EACH OTHER AND DIDN’T CLASH.
THOUGHTS OF THE WEEK THOUGHTS OF THE WEEK IS PART OF CREATIVE INDUSTRY PRACTICE FOR US TO DO RESEARCH INTO THE WAYS OTHER DESIGNERS HAVE WORKED.
NATASHA JEN NATASHA JEN IS A DESIGNER BASED IN NEW YORK. HER WORK FOCUSES ON GRAPHIC DESIGN, BRANDING AND EXHIBITION DESIGN.
KATE MOROSS KATE MOROSS IS A DESIGNER, ILLUSTRATOR AND ART DIRECTOR BASED IN LONDON. HER WORK VARIES IN STYLE YET IS STILL RECOGNISABLE THOUGH HER USE OF BRIGHT EYE-CATCHING COLOURS AND USE OF SHAPES AND PATTERNS.
MASSIMO VIGNELLI “WE THINK TYPOGRAPHY’S BLACK AND WHITE; TYPOGRAPHY’S REALLY WHITE, YOU KNOW, IT’S NOT EVEN BLACK. IT IS THE SPACE BETWEEN THE BLACKS THAT REALLY MAKES IT. IN A SENSE, IT’S LIKE MUSIC; IT’S NOT THE NOTES, IT’S THE SPACE YOU PUT BETWEEN THE NOTES THAT MAKES THE MUSIC.”
INVENTIVITY INVENTIVITY IS ONE OF FOUR STUDIOS. THE INVENTIVITY STUDIO IS FOCUSED ON BRANDING.
ON YOUR MARKS ON YOUR MARKS IS OUR FIRST STUDIO PROJECT AND WE WERE STRAIGHT AWAY WORKING ON A LIVE BRANDING BRIEF WITH LONDON MET’S GRADUATE ENTREPRENEURS FROM ACCELERATOR. THERE WERE THREE PRODUCTS TO CHOOSE FROM: A COSMETICS BRAND, A SMOOTHIE BRAND AND A SWEET DESSERT BRAND. I CHOSE TO WORK WITH THE SWEET DESSERT BRAND - OH GEE PIE. WE STARTED OUT RESEARCHING INTO THEIR PRODUCTS AND MARKET FOR THE BRAND AND CONSIDERING THE TARGET AUDIENCE AND COMPETITOR LANDSCAPE. WE WORKED ON CREATING A BRAND CONCEPT BOARD AND MANIFESTO, IDENTIFYING THE MESSAGES, TONE OF VOICE AND PERSONALITY FOR THE BRAND AND WILL TRANSLATE OUR IDEAS INTO A BRAND IDENTITY WHICH MUST INCLUDE A UNIQUE VISUAL LANGUAGE, ENSURING THE BRAND WILL BE RECOGNISABLE WITH OR WITHOUT A LOGO.
THESE ARE MY FINAL OUTCOMES WHICH INCLUDES BUSINESS CARDS, TAKEAWAY CUPS AND CAKE PACKAGING.
CAFE FOR THE FUTURE CAFE FOR THE FUTURE IS OUR SECOND STUDIO PROJECT. WE HAD TO DEVISE AN INNOVATIVE CAFE PROPOSITION THAT WILL IN SOME WAY MAKE THE WORLD A BETTER PLACE. THE CHALLENGE IS TO DEVELOP A CAFE CONCEPT WHICH IS SIMPLY MORE THAN JUST THE FOOD AND DRINK.
AFTER RESEARCHING TYPEFACES, I FINALLY NARROWED IT DOWN TO MY 3 FAVOURITE OPTIONS. I CHOOSE THESE THREE BECAUSE MY CAFE HAS A THEME OF CRYSTALS AND I THINK THEY ALL REFLECT THAT VIBE. IN THE END I WENT WITH THE BOTTOM TYPEFACE AND I CHOSE THIS BECAUSE I FEEL THAT IT WOULD BE THE BEST OPTION VISUALLY AND WOULD BE COMMUNICATED BEST THROUGH VISUAL OUTCOMES.
WHEN IT CAME TO DEVELOPING MY LOGO, I DESIGNED SEVERAL DIFFERENT LOOKING CRYSTALS AND DECIDED ON THE ONE SHOWN BELOW. I EXPERIMENTED WITH DIFFERENT COLOURS, USING THE ONES I WAS LOOKING INTO FOR MY COLOUR PALETTE. MY FINAL LOGO IS THE ONE SHOWN AT THE BOTTOM, I DECIDED ON THIS ONE AS I FELT THAT IT REFLECTED WHAT A CRYSTAL LOOKS LIKE THE MOST. WITH THE USE OF DIFFERENT COLOURS, IT SHOWS LIKE HOW AN ACTUAL CRYSTAL LOOKS THROUGH DIFFERENT LIGHTING.
DRAMARAMA DRAMARAMA IS OUR THIRD AND LAST STUDIO PROJECT. IT CARRIES ON FROM OUR PREVIOUS PROJECT - CAFE FOR THE FUTURE - WHERE WE CREATED A CONCEPT AND BRAND IDENTITY FOR A SOCIAL ENTERPRISE CAFE. WE WERE ASKED TO CREATE A PROMOTIONAL INSTALLATION SUCH AS A POP-UP OR WINDOW DISPLAY RELATED TO OUR CAFE BRAND. THE INSTALLATION DOESN’T HAVE TO OPERATE AS A CAFE, IT’S MORE ABOUT GENERATING PRESS COVERAGE AND ATTENTION ON SOCIAL MEDIA. IT NEEDED TO BE SIMPLE, THEATRICAL AND ENGAGING.
WITH THIS PROJECT I KNEW THAT I WANTED TO USE PHYSICAL CRYSTALS IN MY INSTALLTION BECAUSE ONE OF OUR FIRST TASKS WAS TO COMPLETE THIS SENTENCE: MY PROJECT IS ABOUT THE FEELING OF...
MY WORD IS CURIOSITY AND I CHOSE THIS BECAUSE I THOUGHT THAT THE MAJORITY OF PEOPLE PROBABLY WON’T REALLY HAVE ANY KNOWLEGE ON CRYSTALS SO I THOUGHT IT WOULD BE ESSENTIAL IN GETTING TO KNOW THE UNDERSTANDING AND RECOGNISING OF EACH ONE.
I THEN STARTED THINKING OF HOW I WANTED TO DISPLAY THEM AND WHAT I COULD USE ALONGSIDE IT. I PROCEEDED INTO DECIDING TO COMBINE THE CRYSTALS WITH CLOUDS. MY THOUGHT PROCESS FOR THIS WAS THINKING ABOUT HOW YOU CAN’T SEE WHAT’S ABOVE THE CLOUDS UNLESS YOU’RE ABOVE THEM AND THIS INTWERWINES WITH CURIOSITY.
AFTER ALL OF MY EXPERIMENTATION, THIS IS MY FINAL OUTCOME. IT IS A MIXTURE BETWEEN OF A DREAM CATCHER AND A WIND CHIME.
EXHIBITIONS, TALKS AND VISITS
FIG TAYLOR FIG TAYLOR IS THE Association of Illustrators RESIDENT PORTFOLIO CONSULTANT AND HAS BEEN ADVISING ILLUSTRATORS ON HOW TO MAKE THEIR PORTFOLIOS THE BEST IT CAN BE SINCE THE 1980S. SHE GAVE US HER BEST ADVICE WHEN SHE VISITED; PROFESSIONAL PORTFOLIOS AND UNIVERSITY PORTFOLIOS ARE VERY DIFFERENT - PROFESSIONAL ONES NEED TO BE SELECTIVE. NO LIFE DRAWING ONLY SHOW FINISHED WORK NEVER BIGGER THAN A3 IF YOU HAVE BIG OR 3D WORK, TAKE GOOD PICTURES OF IT
NIK HILL FROM A YOUNG AGE, NIK HAS ALWAYS BEEN FASCINATED BY SCIENCE YET EXPRESSED HIMSELF VISUALLY. GROWING UP IN BRISTOL, NIK WAS EXPOSED TO VIVID STREET ART BY THE LIKES OF BANKSY, TCF CREW AND WILL BARRAS. THIS SPARKED AN INTEREST IN VISUAL EXPRESSION AND ILLUSTRATION. OVER TIME NIK HAS EVOLVED FROM A ILLUSTRATOR INTO A MOTION DESIGNER, FUSING BOTH HIS LOGICAL AND CREATIVE WAYS OF THINKING. NIK’S CAREER BEGAN WHIST STUDYING FOR HIS BA IN MOTION GRAPHICS AT LONDON MET, WHERE HE ENTERED A COMPETITION WITH STUDIO FACTORY 311. AFTER WINNING, NIK WENT ON TO CREATE MORE MOTION DESIGN FOR ARSENAL FC’S ONLINE TV CHANNEL - ARSENAL 360. NIK GRADUATED IN 2012 AND WENT ON TO FREELANCE AT SPOV, WEARE17 AND TERRITORY. NIK THEN WAS TAKEN ON AS SENIOR MOTION DESIGNER AT TERRITORY AND WORKED ON A NUMBER OF FEATURE FILMS, INCLUDING MARVEL’S AVENGERS: AGE OF ULTRON, GUARDIANS OF THE GALAXY, JUPITER ASCENDING AND AGENT 47. HE WAS LATER PROMOTED TO ART DIRECTOR AT TERRITORY, WHERE HE LED A NUMBER OF FILM PROJECTS, YET TO BE RELEASED. AFTER WORKING FOR AROUND 4 YEARS AT TERRITORY, HE BECAME A FREELANCER IN ORDER TO FREE UP TIME FOR PERSONAL WORK, PASSION PROJECTS AND EXPLORE WORKING WITH OTHER STUDIOS AROUND THE GLOBE.
JKR GLOBAL JKR GLOBAL ARE AN AWARD WINNING INDEPENDENT GLOBAL DESIGN AGENCY WHO BELIEVE IN THE POWER OF DESIGN TO HELP BRANDS GROW. BY AMPLIFYING AND CELEBRATING WHAT MAKES BRANDS UNIQUE AND CHARISMATIC, THEY HELP THEM GET NOTICED. THEY WORK FOR ALL DIFFERENT KINDS OF CLIENTS FROM THEIR STUDIOS IN LONDON, NEW YORK, SINGAPORE AND SHANGHAI. WE VISITED JKR GLOBAL FOR OUR CAFE FOR THE FUTURE PROJECT, IT WAS REALLY INTERESTING AND INTRUIGING TO SEE HOW AGENCY’S WORK AND IT WAS ALSO COOL THAT THEY SHOWED US THEIR SECRET WORK FOR COMPANIES THAT HADN’T BEEN RELEASED YET.
CCS CASE STUDY
The Development of Cameras The idea of the camera - defined ‘a device for recording visual images in the form of photographs, film or video signals’ - goes back centuries, all the way back to 400 B.C - 1000 A.D. The first ever physical device was the Pinhole camera, most commonly known as the Camera Obscura and was invented by an Arab physicist and inventor Ibn al-Haytham who is also is known by the name Alhazen, 900-1000 A.D but there has also been historical mentions of the Camera Obscura by ancient philosophers Mozi and Aristotle. The Camera Obscura is an optical device which projects an image of the surroundings using light, a lens/small hole on to a screen. In 1490 Leonardo Da Vinci recorded detailed descriptions of the Camera Obscura and used it to trace things. This invention plays an important role in the kick-start and development of how cameras and photography is used today. Johann Heinrich Schultz discovered in 1724 that exposing certain silver compounds to light altered the appearance and left marks wherever the light touched but this was only temporary as the images that were exposed soon disappeared after he made them1. In 1826, the world’s first photograph was taken by Joseph Nichéphore Niépce in France, using a procedure called Heliography. The process for the exposure takes several days. Joseph Nichéphore Niépce’ partner just so happened to be Louis Daguerre, and after Josephs death, Daguerre continued his work and created the first photographic process in 1833, the Daguerreotype. It wasn’t until researching this subject that it became known to me that there was actually a physical camera invented before Kodak’s film camera, the Daguerreotype Camera. This camera was made by a French business firm called Susse Freres, thought to have been made no later than 1839. In 2007 one was found in a German attic and then sold at a Vienna auction house, selling to an anonymous bidder for a whopping £400,0002. ‘The daguerreotype process, only perfected in 1839, was judged the first viable form of commercial photography. The head of the Vienna auction house said he was convinced the piece was from the earliest years of popular photography3.’ The Daguerreotype was named after the man who invented the process, Frenchman Louis Daguerre4 but was made by Alphonse Giroux; Daguerre’s brother in law. Each Daguerreotype developed a positive image – not a negative, like later photographic processes – on a plate of mirror polished silver, and did not allow for any reproductions5. Today few daguerreotypes survive intact in private hands, and the discovery of the Susse Freres model, in a Munich loft where it had lain undisturbed since 1940, prompted a frenzy of interest8. On the 4th of September 1888, George Eastman patents for a roll-film camera and registered the trademark that still to today is known worldwide as “Kodak9, and because of this design, Eastman became a pioneer in photographic films usage. “ Figure1: Kodak’s camera advertisement, 1889. Although the device was very simple, it was still a device that was marketed for the wealthy, costing $25 – which in today’s money is roughly $677 so that gives you a rough guide as to how expensive it would’ve been to people back then the first kind of “popular” photography, and was particularly suited to portraits6. But the relative speed of the process compared to previous techniques made the daguerreotype the The first photograph of Abraham Lincoln was believed to have been taken using a daguerreotype, in the 1840s. The name “Kodak” came from Eastman’s fondness for the letter “K.” He found it a “strong, incisive sort of letter.” He and his mother devised the name Kodak with an anagram set. By popularizing the use of roll film, Eastman succeeded in bringing photography to the mainstream. Small, affordable, and easy-to-use, Kodakcameras were an instant hit12. Their tagline was “You press the button, we do the rest.” The Kodak camera had enough film for 100 exposures and similarly like the disposable cameras of today, you would just send the film back to Kodak to be processed and developed and the end result would be a circular photograph. The roll-film camera led on to the invention of the Brownie in the February of 1900, which was also by Kodak. This was the first mass- marketed camera, which was basically a cardboard box, covered in faux leather with a small round opening at the front13. At just $1($30 now) and using film that sold for only 15cents ($4.39), it made the Brownie accessible to people of all ages and all different backgrounds and because of this, Eastman revolutionised the industry of photography and transformed the world’s relationship with photo’s. His improvements also proved to be
vital to the invention of motion picture film by some of the world’s first film makers15. At this time as well in 1900, the Raisecamera (travel camera) was invented. It was extremely lightweight and small in it’s dimensions when it’s folded up, making this camera one of the most desirable things for landscape photographers. In 1913/14, the first 35mm still camera was developed by Oskar Barnack of the German company Leica Cameras but because of the war, marketing and production didn’t proceed until the 1920s. But because of the success of this camera, it later became a standard for all film cameras to be 35mm. With a bit of jump in time to 1949, a man called Edwin Land invented the first Polaroid camera, which takes a picture and can print it in about a minute. As well as the Polaroid the first SLR came in 1949, which has now become the industries standard for professional photographers. Another milestone was reached in 1978 when then Konica C35-AF was introduced. It was the first point-and-shoot, autofocus camera and was nicknamed “Jasupin”16. In 1981 Sony brings out the Sony Mavica – the world’s first digital electronic still camera17. Digital photography and television images are related to the same technology, so this camera recorded images into a mini disk and then put them into a video reader18. Images could be displayed to a television monitor or colour printer19. In 1986 Fuji introduced the disposable camera20. The majority of people will have used a disposable camera at least once in their lifetime whether that be for a birthday, wedding or holiday because they’re so cheap making them accessible to everyone. Disposable cameras mostly are made out of cheap components but that doesn’t and didn’t stop people using. To this day they’re still around with people occasionally using them to take on holidays or you’ve got the people who use them because of their aesthetics of vintage, less than perfect style. Kodak released the first professional digital camera system (DCS) which was of a great use for photojournalists. It was a modified Nikon F-3 camera with a 1.3-megapixel sensor21. Which led on to the productions of the first digital cameras made specifically for the consumer market that worked with a home computer vie a serial cable22. The first one was the Apple QuickTake 100 camera which was released 17th February 1994, the Kodak DC40 camera 28th March 1995, the Casio QV-11 (with LCD monitor, late 1995) and Sony’s Cyber-Shot Digital Still Camera in 199623. Skipping ahead to 2000, Japan introduced the world’s first camera phone Sharp and J-Phone introduced the J-SH04 which was the world’s first camera phone with 110,000 pixel CMOS (Complementary Metal Oxide Semiconductor) and a 256 colour display, though it was only ever made available to Japan24. This device also plays a significant role in photography seeing as how now some smart phone cameras are so good, they rival DSLR cameras. Over a 5 year period, consumers proved to love having having cameras built in to their phones, so manufacturers started racing against one another to produce the best and smallest cameras they could. A totally new direction of photography was happening when an American surfer named Nick Woodman wanted a way to capture photos while he was surfing, so he began tinkering with 35mm cameras25. Woodman continued to improve on his design, and in 2010, his company, GoPro, released the GoPro HD Hero. The HD Hero marked the first rugged, waterproof camera able to capture video in 1080p26. Since then, the Hero line of cameras has become the standard in the now-widespread market of action cameras27. In 2008, legendary company Polaroid stopped producing all of its instant films and cameras. While Polaroid pioneered instant photography, and photography in general, the company couldn’t maintain the public’s interest in instant film photography in an ever-increasing digital age28. However other companies such as Fujifilm have stepped in and produced two instant cameras; the Instax Mini and the Instax Wide as well as the film to go with them. But then there’s the Impossible Project: a company that in 2008 stepped in to buy the last remaining factory of Polaroid and produces and manufactures instant film packs for most of the Polaroid cameras. But when they bought the factory, “the machines had been dismantled, there were no formulas to follow and the supply chain had been destroyed”, so they had to
reinvent instant film from scratch. As a fan of Polaroid and instant cameras in general, I was avidly excited to hear about this company, tdefinitely will have to either bring down the prices or add more exposures to a pack, otherwise it’s just an open invitation for someone else to possibly come along and do the though when I saw the price it definitely dulled the excitement a bit. Film starts at £17.99 for 8 exposures. So although to me the whole concept of the Impossible Project is inspiring and has been fairly successful so far, I feel like for the company to be continually successful it definitely will have to either bring down the prices or add more exposures to a pack, otherwise it’s just an open invitation for someone else to possibly come along and do the same thing but cheaper. Last year Apple brought out the iPhone 7, and though they’re not that different from their predecessors, they in the running for opening up a whole new era in mobile photography. The iPhone 7 Plus is the most impressive out of the two, with it having dual cameras, the same f/1.8 28mm wide-angle lens as the iPhone 7, alongside an f/2.8 56mm telephoto lens, optical image stabilisation, four colour True Tone flash and wider colour capture. So what’s next for the world of photography? Camera’s started out as big, boxy, hard to transport device, to a tiny little handheld easily transportable device that the majority of the world has access to. It’s taken the world by storm, there’s pictures constantly around you. Whether that be whilst you’re having a gander on social media, digital and physical photo albums, on your bedroom wall, magazines, newspapers and even displayed on the side of buses. Photographs are everywhere and here to stay, but what exactly is the future for cameras, phones and DSLRs that have a hologram display? Cameras that capture the surrounding smell of the image that’s being taken? Or a camera that can excel no matter what the conditions, especially maybe in circumstances when there’s little to no light. All I know is that the future of cameras and photography is thrilling.