'Having a Kodak moment', that is, stopping to take a photograph, was a common term. The company failed to successfully transition to digital and was bankrupt in 2012. Kodak now has four of the top selling new and affordable film cameras.

The cameras are particularly appealing to a younger demographic with digital fatigue. Prints give them physical and tangible memories. The cost of film and printing concentrates the mind when composing an image, unlike the multiple images that are easily and cheaply taken digitally on a smartphone. They lead to high volume, often similar images and images rarely revisited in detail.

With film, less is more.

This resurgence of slow, fixed position photography is for fun.

Professionally, we accept that film photography is predominantly the medium of art photographers, while digital does most of the heavy lifting.

Nicéphore Niépce’s ‘View from the Window at Le Gras 1826/27

A building was the first subject to be photographed, composing a shot from a fixed position, using a tripod, waiting for the light. The medium has changed but in photographing architecture, little else has.

How the images are shared and viewed is the big difference - and how much can be missed. We fill our lives with more and more visual on-line stuff. There are around 20 major international webzines and thousands of architectural blogs. If you have auto scroll or are reading on a smart phone the images are either transient or need expanding to see the image - and that takes time. The detail and the nuance easily overlooked. Relative to the number of digital readers of architectural magazines, print readership is small. The good news is that high quality and niche architectural magazines have seen growth.

The way we visually explain architecture is important to me. Architecture is complicated.

We've entered a hybrid era for portraying architecture with stills and video. Video adds to sharing the experience, taking you round corners, through corridors, landscaping blowing in the wind, and the passing of time. Video suits the algorithms of social media.

Video, like scrolling, is passive, we sit and it flows.

Still photography freezes the moment especially when in print form, and happily this WAF newsletter, where the reader has to be proactive, deciding how long to linger on an image, giving time to inspect and understand.

Bully House Studio MM Architects photo: ©Brad Feinkopf . It would be easy to miss the two deer. Their presence affirms a quiet rural environment. It illustrates a sense of place.

We need this mix and importantly the time to process what we are seeing and not reading and merely looking - not just letting the images wash over us.

Guardian Art and Auction Center - Beijing China - Buro Ole Scheeren Photo : © Aurelian Chen

This image is more complex. This is a new hybrid institution in the vicinity of the worlds largest Imperial Palace and, for me, illustrates the tension between cultures past and present

I have long advocated, 'Look for Longer'

At first glance this exemplifies London's South Bank on a miserable and rainy day. Now cast your eyes onto the roof tops and you'll see four figures. They were part of thirty one life sized figures by sculptor Antony Gormley positioned around the city. © Richard Bryant

Be proactive, take your time, if not you may miss the full story.

Perhaps a notion we can take beyond looking at pictures.

Musings from my life in photography and architecture ©Lynne Bryant
All photographs ©the photographer They may not be downloaded, scraped or copied in anyway without prior permission from the photographer and negotiation of a licence.