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by Asko Lehmuskallio, Edgar Gómez Cruz
Digital Photography and Everyday Life
Cover
Half Title
Title Page
Copyright Page
Table of Contents
List of figures
List of tables
Notes on contributors
Foreword
Acknowledgements
Why material visual practices?
Part I Variance in use in everyday photography
1 'I'm a picture girl!' Mobile photography in Tanzania
2 'Today I dressed like this': selling clothes and playing for celebrity: self-representation and consumption on Facebook
3 Amplification and heterogeneity: seniors and digital photographic practices
4 Illness, death and grief: the daily experience of viewing and sharing digital images
5 The Boston Marathon bombing investigation as an example of networked journalism and the power of big data analytics
6 Variance in everyday photography
Part II Cameras, connectivity and transformed localities
7 Photographs of place in phonespace: camera phones as a location-aware mobile technology
8 (Digital) photography, experience and space in transnational families: a case study of Spanish-Irish families living in Ireland
9 Visual politics and material semiotics: the digital camera's translation of political protest
10 Linked photography: a praxeological analysis of augmented reality navigation in the early twentieth century
11 Photographic places and digital wayfaring: conceptualizing relationships between cameras, connectivities and transformed localities
Part III Camera as the extension of the photographer
12 Exploring everyday photographic routines through the habit of noticing
13 'Analogization': reflections on wearable cameras and the changing meaning of images in a digital landscape
14 Photo-genic assemblages: photography as a connective interface
15 The camera as a sensor: the visualization of everyday digital photography as simulative, heuristic and layered pictures
16 Is the camera an extension of the photographer?
17 Outlook: photographic wayfaring, now and to come
Index
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Copyright Page
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List of figures
Contents
List of figures
List of tables
Notes on contributors
Foreword
RICHARD CHALFEN
Acknowledgements
Why material visual practices?
ASKO LEHMUSKALLIO AND EDGAR GÓMEZ CRUZ
PART I
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