Manual engagement and automation in amateur photography

© 2017, © The Author(s) 2017. Automation has been central to the development of modern photography and, in the age of digital and smartphone photography, now largely defines everyday experience of the photographic process. In this article, we question the acceptance of automation as the default position for photography, arguing that discussions of automation need to move beyond binary concerns of whether to automate or not and, instead, to consider what is being automated and the degree of automation couched within the particularities of people’s practices. We base this upon findings from ethnographic fieldwork with people engaging manually with film-based photography. While automation liberates people from having to interact with various processes of photography, participants in our study reported a greater sense of control, richer experiences and opportunities for experimentation when they were able to engage manually with photographic processes

Awards, Archives, and Affects: Tropes in the World Press Photo Contest 2009 - 2011

__Abstract__ Photography contests have assumed an increasingly significant public role in the context of the global surge of mass-mediated war reporting. This study focuses on the recurrence of visual tropes in press photographs awarded in the annual contest World Press Photo (WPP) in the years 2009–11. By tropes, we mean conventions (e.g. a mourning woman, a civilian facing soldiers, a distressed witness to an atrocity) that remain unchanged despite their travels across the visual sphere, gaining professional and public recognition and having a strong affective impact. We contend that photography contests such as the WPP influence and organize a process of generic understanding of war, disaster and atrocity that is based on a number of persistent tropes, such as the mourner, the protester or the survivor amidst chaos and ruins. We further show that these tropes are gendered along traditional conceptions of femininity and masculinity, appealing strongly to both judges and wider audiences. The evidence for our claim comes from an analysis of the photographs that won awards, observation of the judging sessions, semi-structured interviews with three jury chairmen, and public commentary on the juries’ choices (blogs, newspapers and websites)

Photographing Absence in Deathscapes

How do visual methods, particularly the practice of photography, help us to visualise and understand absence in deathscapes? In this paper I will argue that photographs, with their ability to freeze moments, are able to capture what I term points of praxis – moments in which practices by individuals inscribe meaning onto deathscapes, and in that intense and captured presence, evoke the feeling of absent individuals. Such points of praxis can exist in two ways – the praxis of the body and the praxis of objects – both of which I will illuminate with the use of visual ethnographic methods. To support my argument, I present work taken from a three‐year visual ethnographic study of Bukit Brown Cemetery, specifically drawing on the social and cultural documentation of the Hungry Ghost Festival

An (Extra)ordinary Night Out: Urban Informality, Social Sustainability and the Night-time Economy

10.1177/0042098013489743Urban Studies514712-72