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The rise of digital photography and imaging has transformed the landscape of visual communication and culture. Events, activities, moments, objects, and people are 'captured' and distributed as images on an unprecedented scale. Many of these are shared publicly; some remain private, others become intellectual property, and some have the potential to shape global events. In this timely introduction, the ubiquity of photography is explored in relation to interdisciplinary debates about changes in the production, distribution, and consumption of images in digital culture.Ubiquitous Photographyprovides a critical examination of the technologies, practices, and cultural significance of digital photography, placing the phenomenon in historical, social, and political-economic context. It examines shifts in image-making, storage, commodification, and interpretation as highly significant processes of digitally mediated communication in an increasingly image-rich culture. It covers debates in social and cultural theory, the history and politics of image-making and manipulation, the current explosion in amateur photography, tagging and sharing via social networking, and citizen journalism. The book engages with key contemporary theoretical issues about memory and mobility, authorship and authenticity, immediacy and preservation, and the increased visibility of ordinary social life.Drawing upon a range of sources and original empirical research, Ubiquitous Photographyprovides a comprehensive introduction to critical academic debate and concrete developments in the field of digital photography. It is essential reading for students and scholars interested in media and society, visual culture, and digital technology.

ch. 1. The police photographer -- ch. 2. Cameras -- ch. 3. Optics and accessory equipment -- ch. 4. Light theory and digital imaging -- ch. 5. Photographic exposure -- ch. 6. Flash photography -- ch. 7. Crime scene photography -- ch. 8. Motor vehicle incident scene photography -- ch. 9. Evidence photography -- ch. 10. Ultraviolet and infrared imaging -- ch. 11. Identification and surveillance photography -- ch. 12. The digital darkroom.

Why we must forget photography and reject the frame of reality it prescribes and delineates.

Intro -- Acknowledgments -- Contents -- List of Figures -- Chapter 1: Introduction: Anticolonialist Photography in the Americas -- Decolonizing the Photographic Imagination -- The Photograph as Act -- What Disappears, What Persists -- On Theory, Methodology, Identity -- Refusals -- Photography and Disappearance -- Theory of the Invisible -- Chapter 2: Seen and the Unseen -- A Small Matter of Wars -- Ancestors -- Monuments and Photographs -- The Naked Image -- The Persistence of Colonialist Memory -- Chapter 3: Staging Returns -- The "Un-Document" -- The Right to Look17 -- Visibility Against Surveillance -- Chapter 4: Empire's Battlefields -- Ten Pretty Little Indian Houses -- Playing War -- Against Erasure -- Ideas of Origin -- Temporal Frames -- Vistas -- Chapter 5: Empire's Dirty Wars -- Elegy and Mourning -- Memory and Return -- Object Studies -- Feminist Gaze -- Feminism across Boundaries -- Rebecca Belmore's New Naming -- Chapter 6: Exiles and Diasporas -- Symbolic Form in Exile -- Eternal Return, Coming Back -- Rewriting the Body -- Dialogic Trace -- Chapter 7: Gendering Decoloniality -- Carrie Mae Weems's Diasporic Haunts -- Waltzing -- Gender's Harms -- The Parlor -- Interiorities -- Chapter 8: Algorithms of Resistance -- Shelley Niro's Self-Reflections -- Cara Romero's Indigeneity -- Matika Wilbur's Map -- Chapter 9: Reclaiming History -- Coyote and Other Tales -- Water Memories -- Television -- Place/No-place -- Indigenous Woman -- Chapter 10: Nomads, Reterritorialization -- Project 562, Nomadism, Finding Home -- Processual Nomadism -- Nomads and Women -- The Inherency of Reterritorialization and Nomadism -- La Pieta -- Chapter 11: Conclusion: Photography, Reappearing -- Beyond the Sacrificial Economy -- Index.

In Photography and Anthropology, Christopher Pinney presents a provocative and readable account of the strikingly parallel histories of the two disciplines, as well as a polemical narrative and overview of the use of photography by anthropologists from the 1840s to the present. Walter Benjamin suggested that photography "make[s] the difference between technology and magic visible as a thoroughly historical variable," and Pinney here explores photography as a divinatory practice that prompted anthropologists to capture the "primitive" lives of those they studied. Early anthropology celebrated p

In Photography and Japan, Karen Fraser argues that the diversity of styles, subjects, and functions of Japanese photography precludes easy categorization along nationalized lines. Instead, she shows that the development of photography within Japan is best understood by examining its close relationship with the country's dramatic cultural, political, and social history. Photography and Japan covers 150 years of photography, a period in which Japan has experienced some of the most significant events in modern history and made a remarkable transformation from an isolated, feudal country into an industrialized, modern world power—a transformation that included a striking rise and fall as an imperial power during the first half of the twentieth century and a miraculous economic recovery in the decades following the devastation of World War II. The history of photography has paralleled these events, becoming inextricably linked with notions of modernity and cultural change. Through thematic chapters that focus on photography's role in negotiating cultural identity, war, and the documentation of urban life, Photography and Japan introduces many images that will be unfamiliar to Western viewers and provides a broadened context for those photos that are better known. ; https://scholarcommons.scu.edu/faculty_books/1130/thumbnail.jpg

Both photography and philosophy are invested in light as a form of intelligence, but while representation is central to photography as a recording practice, for Heidegger it is fundamental to the alienation of human beings from the world, and for Deleuze it is the foundation of political conservatism. This chapter brings together these critiques of representation and demonstrates that photography is both the visual form of Western metaphysics and the means for overcoming the boundaries imposed by the representational paradigm. It is argued that far from being rooted in 'objectivity', photography is usually interpreted through a philosophical framework that imposes upon it the concomitant ideologies of subjectivity and realism. It further contends that when photography is liberated from the totalizing effects of representation it begins to offer a fractured and fragmented 'image' of the interface between current technical, social and cultural norms.

A lively and polemical analysis of photography and today's vernacular photographic culture. In Photography After Capitalism, Benedict Burbridge makes the case for a radically expanded conception of photography, encompassing the types of labor too often obscured by black-boxed technologies, slick platform interfaces, and the compulsion to display lives to others. His lively and polemical analysis of today's vernacular photographic cultures shines new light on the hidden work of smartphone assembly teams, digital content moderators, Street View car drivers, Google "Scan-Ops", low-paid gallery interns, homeless participant photographers, and the photo-sharing masses