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Amateur pic sharing


Free Photo Sharing for Photographers

As a photographer, you’ve spent countless hours honing your skills and precious dollars purchasing the best equipment to capture your shots. Like your photos, you need just the right amount of exposure to leverage the time, effort, and money you’ve put into your career. Photography-sharing websites can be an excellent way to attract clients and grow your business — for free!

There are several important factors to consider when selecting the best platform to showcase and share your photography, including ease of use, shareability, storage space, and photo quality. Another important one is cost. And since you can’t beat free, here are 10 highly-rated, free photo-sharing sites for photographers.

One note before we jump in: We did not include popular social media channels in order to narrow our focus (so to speak) to sites specifically dedicated to photography. Let’s snap away!

1. Flickr

Founded in 2004, Flickr is one of the oldest photography-sharing websites out there. It remains one of the highest-rated platforms to this day. Flickr’s greatest strength may be its community feature. Photographers of various skill levels and interests can follow and interact with each other, join groups, and generally get inspired.

Pros:

  • Large communities of professional and amateur photographers
  • Photography collections organized by themes and techniques
  • A rich selection of photo-editing and sharing tools, along with a wide variety of tagging features
  • Easy user interface

Cons:

  • Free version limited to 1,000 photos
  • The unpaid version includes ads on your profile, photos, and albums
  • Photos are not curated, so quality can be hit or miss if you’re looking to find high-quality work from other photographers

Professional upgrade options: Paid plans starting at $6.99/mo. or $60 per year include unlimited storage, ad-free experiences, and advanced statistics.

2. Imgur

Unlike many free photo-sharing sites for photographers, Imgur offers unlimited uploads and storage time. The site is easy to use and has no shortage of content. However, one of Imgur’s taglines is “Millions of people. Billions of cat GIFs.” They’re not joking. Professional-level photography can be drowned out at times by the abundant supply of meme-style content.

Pros:

  • Unlimited image uploads
  • Unlimited storage periods
  • One-click sharing capability on major social platforms

Cons:

  • Lots of non-professional content, which can seem overwhelming at times for serious photographers
  • Users can only upload 50 images per IP address per hour
  • Lossy compression applied to some pics, so avoid using it as a backup solution

Professional upgrade options: Users can pay $5/mo. for an ad-free experience.

3. 500px

The minute you land on 500px’s home page, you’ll realize right away that the site caters to professional photographers. On the 500px rating system, other users are able to like, favorite, and comment on your photos, and you can do the same thing for your peers’ work. A number of well-known photographers use the site to share content and it is an excellent source of inspiration for photogs.

Pros:

  • Oriented to serious amateurs and professionals, so less “image spam”
  • Allows users to create a directory listing, promote services, and get hired
  • Analytics offer insights into how photos are performing

Cons:

  • Maximum of seven image uploads per week
  • 2,000 total uploads allowed
  • JPEG file format only

Professional upgrade options: Professional plan charges $7.99/mo. and offers unlimited uploads and more enhancement options for directory listings.

4. Deviant Art

If you’re looking for a photog-only site to showcase your photography, Deviant Art may not be your top choice. However, some are inspired by the site’s eclectic mix of artists who can post images of their work, including animators, graphic designers, and even sculptors, potters, and jewelry designers. The site is organized to allow users to easily find a robust network of photography-focused peers. Once you connect, you can join discussion forums, comment on each others’ works, real-time chat, and more.

Pros:

  • Network and join communities with like-minded artists
  • Create a profile and personal gallery of your photographs
  • Get constructive feedback from other photographers

Cons:

  • Free accounts limited to 2 GB of upload space
  • Not dedicated exclusively to photography
  • The free version has ads
  • Easy for users to copy images, so consider protecting your work with watermarks

Professional upgrade options: Pro plans start at $4.95/mo. and enable an ad-free experience in which users can also sell directly from the online store.

5. Unsplash

Unsplash is a source for free, downloadable stock images for individuals and companies needing quality photographs for use in blogs, articles, websites, etc. Although photographers who contribute their work do not get paid for these downloads, the site can provide considerable exposure for pros looking to build their reputation. Unsplash generates over 16 billion photo views per month thanks to the more than 266,000 photographers who have contributed an estimated 3.2 million photos. For photogs, relinquishing their licensing rights is a deal-killer. Others welcome the chance to promote themselves.

Pros:

  • Free exposure could lead to paid gigs
  • Analytics to track engagement with your submissions
  • Active chat room offers networking opportunities and a chance to solicit feedback from more than 200,000 creators

Cons:

  • Photographers submitting work do not get paid for downloads
  • Search function sometimes clunky

Professional upgrade options: None; the site is free for everyone.

6. Behance

Because Behance is owned by Adobe, it integrates seamlessly into your workflow when you’re working with other Adobe products, such as photo editing software. Another advantage is that the business community uses Behance as a way to find freelance talent, so it may be a great photo-sharing option for photographers looking to attract new clients for paid work.

Pros:

  • No limit on photo uploads
  • Syncs with Adobe software
  • Opportunity to connect with buyers and companies looking for freelancers

Cons:

  • Photos require compression before uploading
  • Not a source for storing your entire collection, only individual projects or collections (the site is intended to showcase your star projects)

Professional upgrade options: None; the site is free.

7. ImageShack

ImageShack could be among the best platforms to showcase photography, but it does not offer a free level. So why are we including it in a post about free photo-sharing sites for photographers? Well, because the site offers a 30-day free trial that provides access to all premium features. And at just $3.99 for the feature-rich basic plan, it may not be free, but it’s probably cheaper than a cup of coffee at your favorite java joint.

Pros:

  • Unlimited uploads and storage space
  • Easy to tag, organize, and share photos
  • The robust feature set includes image links, a mobile app, private albums, and more

Cons:

  • Free version only available for 30 days (but includes all premium features)
  • Photos limited to 25 MB in size

Professional upgrade options: Paid options starting at $3.99/mo.

8. 1x

1x is unique from other free photo-sharing sites for photographers. In order to be featured on the site, the site’s team of curators must approve your photographs. There’s no charge for submission, however. Once your photos are accepted, your work will be in the distinguished company alongside numerous collections of gorgeous photography. Plus, you’ll receive pro-level feedback on your technique and style from 1x’s curators.

Pros:

  • Recognition for your work if selected
  • You can sell your photos from the site once approved
  • Insightful feedback on your work from 1x’s curators

Cons:

  • Photographs must be accepted to be featured
  • Not an appropriate solution for storage or large numbers of uploads

Professional upgrade options: None.

9. Postimage

Postimage is a no-frills image hosting site that does not stray from its lane. Although it doesn’t have the community interactivity or the ability to create online portfolios, it’s a solution for photographers who simply need an image host. Photographers use the site to generate permanent links for their photos to use for their website, social media channels, blogs, etc.

Pros:

  • Fast, reliable image hosting
  • Easy to use
  • No limit on the number of uploads you are allowed

Cons:

  • None, really, if you’re simply looking for an image-hosting solution.

Professional upgrade options: None. The site is free to use.

10. Pixabay

Similar to Unsplash, Pixabay is a site for photographers who are willing to post high-quality, copyright-free images in exchange for exposure. The site allows anyone to download images for free and to use them without attribution, even for commercial use. Pixabay bills itself as a “vibrant community of creatives” and enforces a fairly stringent quality control process. While this could limit the number of photos you’re able to feature on the site, it also guarantees that your work will be presented among other photos that meet Pixabay’s quality guidelines.

Pros:

  • It’s a litmus test for photographers wanting to test the quality of their work by seeing if their submissions are accepted
  • Recognition and exposure for photographers who meet the quality guidelines
  • The more high-quality photos you submit, the more you’ll be allowed to upload

Cons:

  • Contributors must give up rights to images
  • Photos must meet stringent quality guidelines
  • No bulk photo uploads

Professional upgrade options: None.

We’ve got your back when you’re behind the camera

When looking for the best solution to showcase photography, first consider the business needs you’re trying to address as you evaluate the free photo-sharing sites for photographers we’ve listed above.

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You can customize your coverage by the job, month, or year. Download the Thimble app or simply click “get a quote,” answer a few quick questions, and click to purchase. We make insurance a breeze so you can let your photography shine.

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The Best Websites to Submit Photos in 2022 (Updated Monthly)

By Joshua Dunlop By Dora Jokkel

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If you want to submit photos to publications, you’re going to need to stand out.  And to get noticed, you’re going to need more than great content. You’re going to need a strategy.

Submitting your photos to the right websites gives you the opportunity to curate, present, and share your content. You’ll also reach key networks of prospective clients, other professionals, and enthusiasts.

[Note: ExpertPhotography is supported by readers. Product links on ExpertPhotography are referral links. If you use one of these and buy something, we make a little bit of money. Need more info? See how it all works here.Ed.]

The Best 6 Websites to Submit Photos To

Here’s our list of the best websites photographers should consider when submitting photos.

1. SmugMug

SmugMug’s main strength lies in the vast degree of customizable features. Content is always king. SmugMug allows you to add a personalised flair to your portfolio. This way, you can express your individual style and stand out from the crowd.

SmugMug has over 70 themes, an easy user interface, and high-resolution, full-screen photo display options. There’s almost an endless array of ways to organize your portfolio.

The site is also strong on its wealth of sharing functions. For every photo or text section on your profile, you can get a custom URL that clicks through directly to a “buy” page.

You can also get a link for each photo you upload to that will let you embed it into any of your other blogs or websites.

Make sure to publish SmugMug content on your Google+ profile. It’ll help build what Google calls your “author profile.” This will boost your credibility when people search for you on Google.

2. 500px

Like SmugMug, 500px’s user interface is accessible and allows for high-resolution photo displays.

500px may offer less customizable features. But it is a popular networking tool amongst professionals.

Thanks to its new networking features, you can stay up to date about your competition as well.

This transparency is not to be underestimated. You’ve got unlimited access to what your competition is doing and how people react to their work.

You can see what’s popular and what products people want to buy. You can also identify gaps in what’s being produced.

Plus, the site lets you directly get in touch with others. You can reach out and introduce yourself to other photographers. Or get in touch with someone you may want to work with.

Perhaps they have an industry lead you could pursue. Or they have a particular photo that is generating a lot of attention. You can reach out and ask how they took it.

3. SlickPic

SlickPic has similar features to SmugMug and 500px. It is sharable, easy to use, and allows for full-screen photo display that’s easy to scroll through.

Again, you’re able to make your own customized gallery. You are also able to batch upload your images from a camera phone or email. You can also upload video clips.

SlickPic’s secret weapon is the ability to add labels to your page. This might not seem revolutionary. But labels are useful.

People are drawn to things that they’re told are popular. You can organize your work with labels like “most popular.” This way, you’re directing your audience through your site by showing them that other people want to be there too.

Support this with some clever social media shares (i.e. “Most popular picture on my site this week, what do you think?”) and you might go viral.

As with 500px, SlickPic is a very social site. Visit other profiles, comment, and connect with other minds in your industry. Remember that, online, your profile is clickable from everything you do.

4. Zenfolio

Zenfolio wins awards. It is a website for your photos, a mobile website, and a photoblog. It also allows you to customize your content in many ways. The page designs are minimal and allow easy organization of your pictures.

Zenfolio is unique in the marketing and SEO (search engine optimization) advice it gives you.

When you build a site, Zenfolio automatically submits it to all major search engines. It offers advice on how to organize your page to rank higher.

You can monitor traffic to your page and figure out what kinds of people are looking at your work. From here, you can get crafty in connecting with them.

What’s more, Zenfolio allows you to list your profile on Photographer Central, a professional photography directory. From here, new clients can search and contact you directly.

You can add “share” buttons for all your social media profiles on all your pages. Plus, you can set up an e-commerce function on your website and mobile site for up to 500 of your photos.

5. jAlbum

jAlbum is more like software than a website. But it is a useful asset in building yourself a profile.

jAlbum lets you present your photos as groups of albums. You can host them on the jAlbum site. Or you can decide to upload them onto any other site on the web.

This is quite useful if you want to pitch a particular photo project or showcase a particular part of your portfolio.

You can add text pages to your jAlbum site. And you can also include a shopping cart function that lets people buy your work.

Like Zenfolio, jAlbum carries a bit of industry prestige. It has been mentioned in key magazines like PhotoPro, Shutterbug and Photo Life.

jAlbum isn’t as strong in network building as 500px or SlickPic. But it is a very strong profile site that lets you get into the nitty-gritty of curating your work as groups of photos and projects. It also allows you to share them easily.

This degree of creative control gives you the tools to showcase your work in a variety of different ways.

6. Google Photos

The main strength of Google Photos is that it’s a Google brainchild, so it can be directly linked to your Google+ account. This is quite useful in making your content rank higher in Google searches.

When you publish content that’s linked to your Google+ account, it adds content to your Google author profile. As that grows, Google begins to trust you more as a producer of quality content rather than spam. This way, you’ll rank higher in Google searches.

Of course, there’s more to ranking higher in Google than using Google Photos. But it’s free and will help your case. There’s not much of a reason not to use it.

Google Photos leans more towards social photo-sharing than plugging your work in a professional way. But it is a useful additional profile to build and maintain to gain some extra traction.

You can also create high-quality picture collages with customizable color options. You can use these to craft decorative pieces you might use to head a pitch. Or use them as a decorative header for one of your other social media profiles.

Conclusion

Your work is more than a collection of your ideas. Together, you’re a brand and a personality.

With the curation, design, networking and sharing platforms these sites offer, you’ve got what you need to make your work stand out.

It takes more than just having a blog to make things happen. It will take time, effort and patience. But if you are consistent and submit photos regularly, you’ll start to see things happen.

For all the best social media knowledge, check out our ebook – Social Success Strategies!

The evolution of modern amateur photography and video and the development of social activity of people in the information society

6. Tutunov V.I. Istoriya voennoy muzykiRossii [History of Russian military music]. Moscow, Muzyka Publ., 2005. 465 p.

7. Khazin A.L. Festival' "Spasskaya bashnya" ["Spasskaya Tower" Festival]. Moscow, Simvoly Publ., 2017. 248 p. (In Russ.).

8. Chertok M.D. Russian military muzyka pervoy poloviny XIX century. Razvitie voenno-muzykantskoy sluzhby: dis. cand. iskusstvovedeniya: 17.00.09[Russian military music of the first half of the XIX century. The development of military music service. PhD in Art History: 17.00.09]. St. Petersburg, Russian Institute of Art History Publ. , 2017. 286 p. (In Russ.).

9. Miller G. The Military Band. London, Novello and Company limited, 1912. 128 p. (In English).

10. Purvis K. Military Tattoos during the Simcoe Regime. (In English). Available at: http://sites.utoronto.ca/mcis/hi/PDF/PurvisK_noon.pdf (accessed 04/08/2019).

11. Wilson K.A. The Making of a Tattoo: Canadian Armed Forces Tattoo 1967. London, Friesen Press, Inc., 2015. 203 p. (In English).

UDC 304.2; 7.077

EVOLUTION OF MODERN AMATEUR PHOTO AND VIDEO AND DEVELOPMENT OF SOCIAL ACTIVITY OF PEOPLE OF THE INFORMATION SOCIETY

Aleksey Alexandrovich Guk, Doctor of Philosophy, Associate Professor, Professor of the Department of Photo and Video Creativity, Kemerovo State Institute of Culture (Kemerovo, RF). E-mail: guk56 [email protected]

Modern photo and video creativity is an actual form of media communication and creative self-expression of people of the information society. It differs significantly from its historical prototype in new creative strategies, new genre-specific formations, and most importantly, in its new socio-cultural role. The purpose of this study was to identify and identify new trends in the development of amateur photography and video, to clarify its social purpose, caused by the urgent needs of modern people. To do this, we used both historical-genetic and comparative methods of analysis. The evolution of photo and video amateurism, considered as a systemic process, including the subjects of amateur creativity, their activities and creative results, revealed a certain picture. Firstly, the total mass nature of the filming subjects, their gender equality, a higher degree of professional culture, the emancipation of creative consciousness and the intellectualization of their creative activity as a whole have become obvious. Secondly, the process of creative activity of photo and video amateurs has become less laborious and costly, the number of technical risks has decreased, the volume of filming material has sharply increased, the importance of professional specialization and creative cooperation of members of creative teams has increased. Thirdly, amateur photographs and films have become not just easily replicated, but excessively multiplied, the conditions for their perception by the audience have changed, there has been a transformation and the emergence of new genre-species formations. All this became possible thanks to the intensive development of digitalization and network technologies that have shaped the information society. These processes have radically changed the “face” of modern amateur photography and video: its mythical existence in the past has acquired a very real appearance, turning into a powerful socio-cultural phenomenon. The author comes to the conclusion that the development of modern information and communication technologies (including photo and video technologies) has brought people not only benefits, but also problems. Their life is increasingly moving into the virtual space, but thanks to the involvement in active creative activity, these problems can partly be leveled. Precisely photo and video amateurism

today has the greatest potential among other types of hobbies in terms of introducing creativity. It is suggested that the creative activity of photo and video amateurs will grow along with an increase in the material and financial well-being of people, along with the development of their common culture, which ultimately should make their existence more spiritual and rich.

Keywords: photo-, video-amateur, evolution, social communication, photo-creativity, video-creativity.

EVOLUTION OF MODERN PHOTO, VIDEO AMATEUR WORK AND DEVELOPMENT OF SOCIAL ACTIVITY OF INFORMATION SOCIETY PEOPLE

Guk Aleksey Aleksandrovich, Dr of Philosophical Sciences, Associate Professor, Professor of Department of Photovideoart, Kemerovo State University of Culture (Kemerovo, Russian Federation) . E-mail: guk56 [email protected]

This study is dedicated to the evolution of modern photo and video amateurs in the context of the development of the information society. Photo and video amateurs are considered by the author as a systemic phenomenon, including the subject of creativity, its activity and creative result. The performed analysis showed the total mass of the withdrawing subjects, their gender equality, higher degree of professional culture, emancipation of creative consciousness and intellectualization of their creative activity. The process of creative activity of photo and video amateurs has become less labor intensive and costly, the number of technical risks decreased, the importance of professional specialization and creative cooperation of members of creative teams increased. The conditions of perception and consumption of amateur films and photographs by the audience changed, transformation and emergence of new genre-species formations took place. All this was made possible thanks to the intensive development of digitalization and network technologies. These processes radically changed the "face" of the modern photo and video lovers: its mythical existence in the past acquired a real look, turning into a powerful sociocultural phenomenon. The author concludes that the development of modern information and communication technologies has brought people not only worthy but problems also. Their life is increasingly moving to the virtual space, but thanks to the introduction to the creative activity, these problems can be partly leveled. Todays photo and video amateur has the greatest potential among other types of amateurism in terms of initiation to creativity. It has been suggested that the creative activity of photo and video enthusiasts will grow along with an increase in the material and financial well-being of people, along with the development of their common culture, which ultimately should make their existence more spiritual and rich.

Keywords: photo, video amateurs, evolution, social communication, photo creation, video creation.

Today, all members of modern society can be safely called photo and video amateurs. This is an obvious fact, backed up by the daily practice of people who overwhelmingly have one or another gadget at their disposal. We become potential amateurs in this area precisely because we have a mobile phone, which has now become a mega-communicative system and at the same time a creative tool. With its help, we capture the life around us and share its screen images not only with our surroundings, but with almost everything

network community. Of course, modern photography and video amateurism is not uniform. In its structure, one can single out those who simply create photo and video messages, as if “as a keepsake”, in order to update the audiovisual information contained in them, if necessary. This is the so-called "folklore layer" of photo and video amateurs. But among them there are those who claim to be the authors of screen works. They use photographic and video media not only for operational communication, but, above all, for a meaningful, author-filled figurative expression through

creation of a screen (including photographic) work. Both those and other photo and video amateurs are the object of our study.

It is natural that modern photography and video amateurism (formerly cinematography) has its own history of development, its own socio-cultural purpose, which has changed over time. Contemporary photography and video amateurism significantly differs from its historical prototype in new creative strategies, new genre-specific formations, and most importantly, in a new socio-cultural role in society. In the scientific literature there are some works that describe mainly the problems of amateur photography. In particular, K. V. Soboleva traces technical changes in photography that affect its communicative functions [4]. L.V. Chernavina demonstrates a similar approach, denoting some new characteristics of amateur photography [8]. To them one can add an essay by A. Feldman [6], dedicated to the “portrait” of modern amateur photography. There are significantly fewer works that reflect modern problems of film and video amateurism. Among them, one can name the study by M. A. Berezhnaya [1], who considers amateur video on the air TV channel as a fashionable aesthetic device, as well as the work of N. F. Khilko [7]. Separate tendencies in the development of amateur photography and video 90-s of the XX century are indicated by us in the textbook [2]. However, practically none of the modern researchers pays attention to the study of the entire set of current trends in amateur photography, especially in the socio-cultural and aesthetic sense. Thus, the purpose of our study is to identify these new trends, to clarify the modern purpose of amateur photo and video, caused by the new needs of people in the information society. We will do this using both historical-genetic and comparative methods of analysis.

As we have already noted, a significant part of modern photo and video amateurism is a cohort of people actively involved in screen (audiovisual) creativity, that is, the creation of films and photographs. Our compatriots in the Soviet years did almost the same thing. But time, epoch leave their imprint on these studies. If we consider this creative activity historically and systematically, including in it such elements as the subject of creativity, the process of creativity itself and its result, it will be found that amateur photography and filmmaking has been significantly transformed.

In the non-internet era, the number of photo and film enthusiasts was much smaller. The development of communication technologies and the "visual turn" in culture have done their job. The mass nature of filming subjects today has become total. The number of "advanced" photo and video amateurs has also increased many times over. At the same time, the subject of amateur photo-video in terms of social status has become somewhat different. We can say that gender inequality has been eliminated in this area as well. If earlier, mainly men were engaged in photography and filmmaking, now women are no less active in this regard. The same trend should be noted in relation to children, they have not only become much more, but most importantly, they demonstrate higher creativity and independence, freeing themselves from the creative, technical and organizational "guardianship" of adults. The material equipment of modern photo and video amateurs has also undergone fundamental changes, making the process of communication and creativity more efficient, intensive and democratic. The occupation of photo and video creativity is no longer the lot of the elite, but a mass phenomenon in which there is a place for everyone. People are no longer afraid of various technological complexities and costs for creating photographs and video works. Their efforts are no longer aimed at overcoming routine technological operations, but at organizing the content and formative elements of photo and video works. The subjects of modern photo and video amateurism are characterized by a different attitude towards professional culture, literacy in the field of photography and screen creativity. They get the necessary professional knowledge much faster, having access to a huge array of textual and visual information. Photo and video amateurs today have the opportunity to study in various photo, television, video schools, various courses, participate in online lectures, and also communicate with each other on issues of a professional master.0003

no matter where you are. In general, the thinking of the subject of amateur photography and video has changed. It has freed itself from the powerful dictates of the communist-socialist ideology. This, in turn, contributed to the emancipation of the creative consciousness of photo and video amateurs, destroying the prevailing clichés and stereotypes. The degree of creative self-expression of the participants of the amateur movement has increased, they have become an organic part of the global cultural process in this area.

Naturally, the very process of creative activity of photo and film lovers has undergone a cultural and historical transformation. First, it has become less laborious and costly. The man-made nature of many technological operations has given way to automation. Hence, the time for preparation and filming was reduced. At the same time, financial costs for the acquisition of image carriers, which began to be used repeatedly, were practically minimized. The filming process in terms of time has gained almost limitless possibilities. Secondly, the number of risks, technical and creative failures in the creation of screen works and photographs has decreased. The filming process itself has become absolutely observable and controllable, and its results are instantaneous and predictable. Thirdly, for video amateurs, synchronous sound recording at the shooting location has become much easier, which has always been a problematic moment for them before. Amateur photographers have the opportunity to "quick-fire" shooting, expanding the display of expressive moments of life's realities. Fourthly, the amount of shooting material has increased dramatically as a result of shooting, which has created a real problem of its selection for many photo and video amateurs. Accordingly, the time for processing this filming material has increased, and the role of post-production in the creative process has become much more significant. Fifth, the organization of the creative process has changed, especially in the field of amateur video, in which the importance of professional specialization and virtual cooperation of members of the creative team has grown significantly.

The results of the creative activity of photo and video amateurs have also undergone cultural and aesthetic changes.

Amateur photographs and films have become not only easily replicated, but excessively multiplied. They finally erased the boundary between the original and the copy, between the qualitative characteristics of the one and the other. In general, the technical level of the image and sound of amateur films and photographs has increased. Image parameters such as sharpness, tonal density, color, dynamic range, etc. have become impeccable. The sound in films has acquired clarity, intelligibility, richness of sound elements and their overtones. Civilizational processes also influenced the form of presentation of amateur photographs and films to the audience. The paper carrier of the photographic image gave way to screenness, and the demonstration of films lost its catholicity and turned into an individualized consumption of the screen spectacle. Also, the old ones were transformed and new genre-species formations appeared. If the traditional genres of amateur photography and video (home chronicle, chronicle of travels, hobbies) have survived in their original form, then their existence on the “home shelves” has shifted to a virtual environment through various instant messengers. As for the "advanced" photo and video amateurs, certain metamorphoses also took place in the genre-species structure of their works. In particular, the dominance of documentaries (essays, reports, informational reviews) on the amateur screen for several decades has ended, and fiction and animation films have come to the forefront of amateur screen creativity. Completely new genre formations also emerged. In photography, these are "selfies", in the screen sphere - music videos, social videos, video jokes (parodies), video remixes, etc. Moreover, all this amateur production tends to accumulate in various social networks.

In general, the social, cultural and aesthetic transformations outlined above became possible only thanks to the intensive development of digitalization and network technologies, which led to the formation of the information society. For photography and video amateurs, this means, first of all, a different state of the subject of creativity, its qualitatively new implementation and functioning. Fundamentally important for today's amateurism is not so much the digitalization of photographic and video processes, but the emergence and development of new communication channels through the global Internet. For amateurs, this is a kind of "breakthrough" in terms of self-realization, self-expression of the creative subject, as well as in terms of social positioning in general. Previously, traditional photography, filmmaking was perceived in society mainly as a myth, everyone seemed to know about it, but it was almost impossible to “meet” it. First of all, this concerned the very folklore layer of photography, cinematography, the audience of which is the authors of the filming themselves. The "advanced" (organized in groups) photo-, film lovers still had a rare opportunity to show their work at various festivals, exhibitions and competitions. At present, the Internet has equalized photo and video amateurs of all categories in terms of communication and has contributed to the establishment of their not mythical, but quite real existence.

However, the arrival of “digits” in the field of amateur photo and video creativity and the emergence of new communication channels using the global Internet network, on the one hand, have become a boon for people, on the other hand, have exacerbated the general contradictions of the information society. Scientists have long been concerned that modern man is increasingly losing his natural sociality and is increasingly immersed in virtual reality. This happens precisely under the influence of modern information and communication technologies, including photo and video technologies. What exactly is the negative impact of new technologies and the virtual environment on a modern person? It is believed that the reduction of real communication and its imitation in social networks can lead to a primitivization of thinking and, ultimately, to the development of cretinism in people [5]. Today, they no longer need to keep a large amount of information in their heads. This function is successfully performed by a computer, photo and video camera. On the Internet you can find almost the entire set of necessary knowledge, if necessary, you can take a photo or

video any phenomenon of life and share it all with Others. As a result, a person loses analytical abilities and communication skills, not paying due attention to comprehending information, structuring it and building "live" translational and communicative mechanisms. In modern society, a single information space has noticeably decreased and, accordingly, the common value bases for its existence are being lost and eroded [9, p. 90]. The very building of relationships between people, support cease to be a value. This suggests that a qualitative change in sociality is taking place, it is becoming more and more phantom, and not really effective. “I-existence” promises us today maximum comfort in a virtual space inhabited by desired friends, pleasant music, films, etc. Virtual communication in this space is only an additional channel of communication for modern people, another degree of human communicative freedom, but not its basic form inherent in its nature.

In order to somehow compensate for the lack of a real "live", and not a phantom-virtual sociality, people today began to have more pets. This is undoubtedly a positive factor, but there are other forms of filling this social need. The most important of them is to involve people in creativity [3, p. 267], and in our case - to photo and video creativity. And this is no longer just an exchange of photo and video messages, but a full-fledged live activity to create certain works in this area. The presence at present of a huge number of photo and video lovers of the folklore type is a prerequisite for their transformation into creators of screen works and photographs of artistic and aesthetic value. In our opinion, it is photography and video amateurism that today has the greatest potential among other types of hobbies in terms of introducing creativity. First, it is inextricably linked with modern information and communication technologies, which are closely integrated into our daily lives; secondly, photo and video creativity does not require

special skills and training exercises to implement one or another author's idea; thirdly, it is spectacular and as close as possible to the visible forms of life itself; fourthly, films and photographs are easily replicated and integrated into social networks, gaining a fairly mass audience, etc. Undoubtedly, the inclusion of “advanced” video amateurs in staged feature films has become a positive moment. Against the background of the social disunity that new information and communication technologies bring with them, the collective creativity inherent in this genre form acquires a special cultural and therapeutic significance. The fact is that shooting feature films requires careful study of the author's intention, collective discussion of the script, joint actions on the set, during which common social values ​​and real communication skills are formed. It is in such situations that deep social relations are born, which are not only a guarantee of joint creative activity, but also a factor of happiness for a person: he feels the full value of his being much more clearly. In the field of photography -

graphy, which assumes only individual participation in the creative process, there are practically no collective actions, but even here new forms of group interaction appear. These, for example, include the so-called photo crosses, photo quests, where one-time joint photography is practiced, discussions of photographs and their exposure in places of mass stay of people.

In order to more intensively realize the creative principle in the field of amateur photo and video creativity, it is necessary to form a certain material and cultural context. Our behavior and our interpersonal relationships depend not only on internal stimuli, but also on the external conditions of life. The creative activity of photo and video amateurs will undoubtedly grow along with an increase in the material and financial well-being of people, along with the development of their common culture. Thus, amateur photography and videography will fulfill the most important socio-cultural mission of "returning" members of the modern information society into the bosom of real-effective, rather than virtual life, which, ultimately, should make their existence more spiritual and rich.

Literature

1. Berezhnaya M.A. Amateur video on the on-air TV channel // Mediascope. - 2014. - No. 4. - P. 4.

2. Guk A. A. History of amateur film, photo and video creativity: textbook. allowance. - Kemerovo: Kemerovo. state University of Culture and Arts, 2011. - 105 p.

3. Kamensky EG New stratification of "techno-society" // Izv. southwest. state university Ser.: Economics. Sociology. Management. - 2017. - V. 7, No. 4 (25). - S. 264-270.

4. Soboleva KV Photography as a communicative practice // Izv. St. Petersburg. state electrical engineering university -2010. - No. 9. - S. 135-140.

5. Technologies of happiness. Documentary film (2018) [Electronic resource] // TV channel "Culture". -URL: https://tvkultura.ru/video/show/brand_id/63529/episode_id/2044041/ (date of access: 05/17/2019).

6. Feldman A. There is such a people - amateur photographers [Electronic resource]. - URL: http://culturolog.ru/index2. php?option=com_content&task=view&id=1110&pop=1&page=0&Itemid=11 (accessed 05/14/2019).

7. Khilko NF Amateur video creativity of students of the Faculty of Culture and Arts // Art and Education. - 2015. - No. 2. - S. 44-50.

8. Chernavina LV Amateur photography as a new communication code // Age of Information. - 2018. - No. 2. - S. 302-304.

9. Chuchkova GS On the problem of communication in a virtual communicative environment // Omsk Scientific Bulletin. -2007. - No. 1 (51). - S. 90-94.

References

1. Berezhnaya M.A. Lubitelskoe video na efirnom telekanale [Amateur video on the TV channel]. Mediascope [Mediascope], 2014, no. 4, p. 4. (In Russ.).

2. Guk A.A. Istoriya lyubitel 'skogo kino-, foto- i videotvorchestva [The history of amateur film, photo and video]. Kemerovo, Kemerovo State University of Culture and Arts Publ., 2011. 105 p. (In Russ.).

3. Kamenskiy E.G. Novaya stratifikatsiya "tekhnoobshchestva" [New stratification "techno"]. Izvestiya yugo-zapadno-go state state university. Series: Economy. Sotsiologiya. Management [Proceedings of the South-West State University. Series: Economy. sociology. Management], 2017, vol. 7, no. 4 (25), pp. 264-270. (In Russ.).

4. Soboleva K.V. Fotografirovanie kak kommunikativnaya praktika [Photography as a communicative practice]. Izvestiya Sankt-Peterburgskogo state elektrotekhnicheskogo universiteta [News of St. Petersburg State Electrotechnical University], 2010, no. 9, pp. 135-140. (In Russ.).

5. Tekhnologii schist'ya. Dokumental'nyy film'm (2018) [Technology of happiness. Documentary film (2018)]. Telekanal "Kul'tura" ["Culture" TV channel]. (In Russ.). Available at: https://tvkultura.ru/video/show/brand_id/63529/epi-sode_id/2044041/ (accessed 05/17/2019).

6. Fel'dman A. Est' takoy narod - fotolyubiteli [There are such a people - photo amateurs]. (In Russ.). Available at: http://culturolog.ru/index2.php?option=com_content&task=view&id=1110&pop=1&page=0&Itemid=11 (accessed 05/14/2019).

7. Khilko N.F. Lyubitel'skoe videotvorchestvo studentsov fakul'teta kul'tury i iskusstv [Amateur video creation of students of the Faculty of Culture and Arts]. Iskusstvo i obrazovanie [Art and education], 2015, no. 2, pp. 44-50. (In Russ.).

8. Chernavina L.V. Lyubitel'skaya fotografiya kak novyy kommunikativnyy kod [Amateur photography as a new communicative code]. Vek informatsii [Information Age], 2018, no. 2, pp. 302-304. (In Russ.).

9. Chuchkova G.S. O probleme obshcheniya v virtual'noy kommunikativnoy srede [On the problem of communication in a virtual communication environment]. Omskiy nauchnyy vestnik [Omsk Scientific Herald], 2007, no. 1 (51), pp. 90-94. (In Russ.).

UDC 304.442

CULTURAL CLUSTERS IN THE REGIONAL DIMENSION

Panichkina Elena Vasilievna, Candidate of Political Sciences, Associate Professor of the Department of Philosophy, Law and Socio-Political Disciplines, Kemerovo State Institute of Culture (Kemerovo, RF). E-mail: [email protected]

The article analyzes the world and Russian experience of cluster development of regions, features of the implementation of cultural cluster models as a way to increase the competitiveness of the region and its application, taking into account the specifics of a particular region, using the example of Kuzbass. The author considers the cluster ideology of the American scientist M. Porter and the prospects of the cluster approach to increase the competitiveness of territories through the implementation of cluster regional policy in such developed countries as the USA, Japan, Germany, China, etc.

The cluster approach as a conceptual plan for the development of territories with the help of new technologies in the field of culture also occupies an important place in the Russian Federation. The experience of creating interregional clusters is analyzed, which makes it possible to effectively implement international and interregional projects in the field of culture, using alternative sources of funding, in particular fundraising in culture.

The paper examines the experience of creating the Kuzbass cultural cluster, which is an essential element of the Regional Development Strategy, as well as the forms of participation in the implementation of this Strategy of the Kemerovo State Institute of Culture, which builds effective interaction both with the regions of the country and with foreign partners. One of the most important factors for ensuring the implementation of the further development of the cultural policy of the region through interregional cooperation agreements based on self-development and partnership has been identified.

The author comes to the conclusion that the implementation of ambitious projects in the field of culture will lead to a number of positive effects in both the social and economic spheres, and in addition, it will become one of the ways of post-industrial adaptation of the region.

Keywords: cluster, regional cultural policy, fundraising, cooperation agreement, interregional interaction, branding.

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