Photographs aren’t life or memory, but in a time of cheap, ubiquitous cameras, the image, merely an imitation, is ascendant. Like the tree’s lonely fall in the forest, the event unrecorded has less currency. Without capture, does the moment even exist anymore? On some levels, no. From “We Are a Camera,” Nick Paumgarten’s New Yorker piece about living in the GoPro flow:

“For two days in the Idaho mountains, [mountain biker Aaron] Chase’s cameras had been rolling virtually non-stop. Now, with his companions lagging behind, he started down the trail, which descended steeply into an alpine meadow. As he accelerated, he noticed, to his left, an elk galloping toward him from the ridge. He glanced at the trail, looked again to his left, and saw a herd, maybe thirty elk, running at full tilt alongside his bike, like a pod of dolphins chasing a boat. After a moment, they rumbled past him and crossed the trail, neither he nor the elk slowing, dust kicking up and glowing in the early-evening sun, amid a thundering of hooves. It was a magical sight. The light was perfect. And, as usual, Chase was wearing two GoPros. Here was his money shot—the stuff of TV ads and real bucks.

Trouble was, neither camera was rolling. What with his headache and the ample footage of the past days, he’d thought to hell with it, and had neglected, just this once, to turn his GoPros on. Now there was no point in riding with the elk. He slowed up and let them pass. ‘Idiot,’ he said to himself. ‘There goes my commercial.’

Once the herd was gone, it was as though it’d never been there at all—Sasquatch, E.T., yeti. Pics or it didn’t happen. Still, one doesn’t often find oneself swept up in a stampede of wild animals. Might as well hope to wingsuit through a triple rainbow. So you’d think that, cameras or not, he’d remember the moment with some fondness. But no. ‘It was hell,’ Chase says now.

When the agony of missing the shot trumps the joy of the experience worth shooting, the adventure athlete (climber, surfer, extreme skier) reveals himself to be something else: a filmmaker, a brand, a vessel for the creation of content. He used to just do the thing—plan the killer trip or trick and then complete it, with panache. Maybe a photographer or film crew tagged along, and afterward there’d be a slide show at community centers and high-school gyms, or an article in a magazine. Now the purpose of the trip or trick is the record of it. Life is footage.”