uncopy

Twenty-two years since the arrival of the first consumer digital camera, Western culture is now characterized by ubiquitous photography. The disappearance of the camera inside the mobile phone has ensured that even the most banal moments of the day can become a point of photographic reverie, potentially shared instantly. Supported by the increased affordability of computers, digital storage and access to broadband, consumers are provided with new opportunities for the capture and transmission of images, particularly online where snapshot photography is being transformed from an individual to a communal activity. As the digital image proliferates online and becomes increasingly delivered via networks, numerous practices emerge surrounding the image’s transmission, encoding, ordering and reception. Informing these practices is a growing cultural shift towards a conception of the Internet as a platform for sharing and collaboration, supported by a mosaic of technologies termed Web 2.0. In this article we attempt to delineate the field of snapshot photography as this practice shifts from primarily being a print-oriented to a transmission-oriented, screen-based experience. We observe how the alignment of the snapshot with the Internet results in the emergence of new photographies in which the photographic image interacts with established and experimental media forms – raising questions about the ways in which digital photography is framed institutionally and theoretically.
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A Life More Photographic. Mapping the Networked Image (2008), by Daniel Rubinstein and Katrina Sluis