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This book argues that photography, with its inherent connection to the embodied material world and its ease of transmissibility, operates as an implicitly political medium. It makes the case that the right to see is fundamental to the right to be. Limning the paradoxical links between photography as a medium and the conditions of political, social, and epistemological disappearance, the book interprets works by African American, Indigenous American, Latinx, and Asian American photographers as acts of political activism in the contemporary idiom. Placing photographic praxis at the crux of 21st-century crises of political equity and sociality, the book uncovers the discursive visual movements through which photography enacts reappearances, bringing to visibility erased and elided histories in the Americas. Artists discussed in-depth include Shelley Niro, Carrie Mae Weems, Paula Luttringer, LaToya Ruby Frazier, Matika Wilbur, Martine Gutiérrez, Ana Mendieta, An-My Lê, and Rebecca Belmore. The book makes visible the American land as a site of contestation, an as-yet not fully recognized battlefield. Claire Raymond teaches at the University of Maine (USA) and the Institute for Doctoral Studies in the Visual Arts (USA). She is the author of eight previous books of feminist scholarship, including The Photographic Uncanny: Photography, Homelessness, and Homesickness and The Selfie, Temporality, and Contemporary Photography.

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

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