A knowledge-sharing piece documenting mobile and its growth and the inevitability of artists veering away from forms of convention to seek new innovative ways of storytelling.

I say inevitable, because with all medium there's the pioneers who commence the language, and those re-evaluating the form to expand and seek fresh direction.

I agree with Cohen that the novelty era is over. Indeed many cohorts with the form today know nothing else. They were born into a world of mobile. Conversely, there's a broad spectrum of mobile journalists who originally emerged from video journalism or using an array of cameras. Glen, and Phillip are some of those OGs

From my end, and there are many others tools, mobile is an additional asset to the array of cameras used for efficacy, art or practicability. Cinema encompasses a wide number of variables.

For breakthrough docs, I still remember as a Royal Television Society juror seeing "Syria: Songs of Defiance | People & Power " -a submission by Al Jazeera some 10 years ago which was shot on mobile. In part, it was to avoid suspicion the team were professionals.

Six years ago a colleague's research (£500.000) to showcase the history of Reggae resulted in me creating a preview film shot on mobile + archive shown at the famous Regent Street cinema where the Lumieres screened their film. Despite the 500k budget there was no film budget so in a 4 day turnaround I made this https://www.youtube.com/watch?v=0l6nGgjR3is

A year earlier at a keynote in India, to thank the organisers and hotel this was conceived and produced a couple of days later https://www.youtube.com/watch?v=hRVGoZk2tp4

One of the central arguments I've made for the Cinema Journalism practice is the art of practice, which you mention. In essence it's platform and tool agnostic. It generally takes more time, but with most practitioners you develop a rolodex of approaches with time, so there are several CJs I've come to know who like a photojournalist can work quickly.

Beneath the Lonesome Skye, your first piece is beautifully shot and its cinematography speaks to one of the many assets of cinematic. A interesting question I've often asked is how cinematic ( and cinema) has antecedents that influence or impact newer generations. Winton C. Hoch was the cinematographer for Ford's The searchers. I see some similarity in your first piece with that of Hochs.