DOCSLIB.ORG

The Social Life of Snapshots the Past, Present, and Future of Personal Photography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Social Life of Snapshots the Past, Present, and Future of Personal Photography The Social Life of Snapshots The Past, Present, and Future of Personal Photography Morgan Golata Ames School of Information University of California, Berkeley Advised by Professor Nancy Van House Final Project (Option B: Research Track) for the degree of Master in Information Management and Systems Submitted May 4, 2006 Morgan Ames The Social Life of Snapshots Abstract Digital cameras, cameraphones, online sharing, and other innovations are expanding the ways we interact with photographs. This study examines the past and present social uses of personal photography and reports on an investigation into possible future uses of cameraphones and online/mobile image sharing. We conducted 57 interviews with 51 participants and carried out a 10-month investigation of cameraphone use in a group of 70 strongly-connected participants, all on the west coast of the United States. We found that cameraphones are interpreted as three devices in one: they are memory-capture devices, communicative devices, and expressive devices, with the third being dominant. Traditionally, cameras were primarily memory-capture devices, especially in family photography where the most research has been done. To balance tendencies toward technological or social determinism, we use concepts from Activity Theory and the Social Construction of Technology in our analysis. We compare our results to those of researchers doing similar work in Japan and Finland. 2 Morgan Ames The Social Life of Snapshots Table of Contents Introduction...................................................................................................................5 My Contributions....................................................................................................................................... 8 Related Work ................................................................................................................9 The History and Social Uses of Family Film Photography ....................................................................... 9 Richard Chalfen .................................................................................................................................. 10 Christopher Musello............................................................................................................................ 14 Gillian Rose ........................................................................................................................................ 19 Other Cultural Historians and Critical Theorists................................................................................. 23 Photography in Human-Computer Interaction Research ......................................................................... 26 Cameraphone research in HCI ............................................................................................................ 26 Explorations of Digital Photograph Use and Sharing in HCI ............................................................. 29 Tools for Sharing and Organization.................................................................................................... 32 Crossing the Boundaries .......................................................................................................................... 34 Cameraphone Use in Japan ................................................................................................................. 35 Cameraphone Communication in Finland........................................................................................... 35 Photoblogging in the UK .................................................................................................................... 37 Themes and Lessons................................................................................................................................ 38 Time.................................................................................................................................................... 38 Sociality .............................................................................................................................................. 39 Sharing ................................................................................................................................................ 39 Functionality ....................................................................................................................................... 41 Themes in Method .............................................................................................................................. 41 The Importance of Culture.................................................................................................................. 43 Methods .......................................................................................................................44 Interviews ................................................................................................................................................ 47 Photo Elicitation.................................................................................................................................. 50 Other Data Sources: Participant Observation, MMM2 Data ................................................................... 51 3 Morgan Ames The Social Life of Snapshots The MMM2 Investigation........................................................................................................................ 53 Technical Specifications of MMM2 ................................................................................................... 54 Study Duration and Interview Schedule.............................................................................................. 57 Participant Demographics and Networks............................................................................................ 59 The Researcher as Participant ............................................................................................................. 60 The Participant as Researcher ............................................................................................................. 61 Grounded Theory Analysis...................................................................................................................... 63 Results..........................................................................................................................65 The Social Uses of Cameraphones .......................................................................................................... 66 Memory, Identity, and Functionality................................................................................................... 66 Relationships and Communication ..................................................................................................... 70 Self-presentation and Self-expression................................................................................................. 78 Summary of Social Uses ..................................................................................................................... 80 Photographic Events ................................................................................................................................ 81 Planning .............................................................................................................................................. 82 Shooting (and first-pass editing) ......................................................................................................... 83 Processing ........................................................................................................................................... 84 Other Editing Events........................................................................................................................... 85 Exhibition............................................................................................................................................ 86 Communicational Components of Photography...................................................................................... 88 Participants.......................................................................................................................................... 88 Settings and Topics ............................................................................................................................. 88 Code.................................................................................................................................................... 89 Summary............................................................................................................................................. 91 Conclusions ............................................................................................................................................. 91 Future Directions.........................................................................................................93 Acknowledgements......................................................................................................95 Literature Cited...........................................................................................................96 4 Morgan Ames The Social Life of Snapshots Introduction Photography has grown in the last century from a curiosity to a pervasive practice that engages us all as photographers, subjects, and viewers. Photographs are important
Load more

Recommended publications
  • Secret Digital Image Sharing Using Natural Image Based VSS Scheme
    International Journal of Science and Research (IJSR) ISSN (Online): 2319-7064 Index Copernicus Value (2013): 6.14 | Impact Factor (2013): 4.438 Secret Digital Image Sharing Using Natural Image Based VSS Scheme Pinky .V M. Tech Student, Dept. of Computer Science & Engineering Mount Zion College of Engineering, Pathanamthitta, Kerala, India Abstract: Visual cryptography is a technique of sharing secret images. This technique encrypts a secret image into number of shares. Combining these shares generates the original image and it can be directly recognized by the human visual system. Visual Secret Sharing scheme is a method of distributing and sharing the secret image amongst a set of users. In conventional visual secret sharing scheme, the shares May holding the security parameters for protecting the secret image but it will leads to suffering the problem of transmission risk. This is the main problem in conventional VSS scheme. To solve this problem here introduce a new scheme of secret digital image sharing via natural image based VSS scheme. In this proposed scheme the shares are encrypted by using the strong AES encryption technique after that this encrypted share is embedded into the natural image. For recovering the original image, it is necessary to decrypt the encrypted share. This method not only reduces the transmission risk problem but also enhance the security of the secret image. Keywords: Visual Cryptography, Visual Secret Sharing Scheme, Transmission Risk Problem, Natural Image based VSS scheme, Encryption/Decryption technique. 1. Introduction photographs. In the proposed scheme diverse media is used for sharing digital images. Using a variety of media for In communication system security of secret image is very sharing the secret image increases the difficulty of altering important.
    [Show full text]
  • Penelope Umbrico's Suns Sunsets from Flickr
    City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2014 Image Commodification and Image Recycling: Penelope Umbrico's Suns Sunsets from Flickr Minjung “Minny” Lee CUNY City College of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/506 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The City College of New York Image Commodification and Image Recycling: Penelope Umbrico’s Suns from Sunsets from Flickr Submitted to the Faculty of the Division of the Arts in Candidacy for the Degree of Master of Arts Department of Humanities and Liberal Arts by Minjung “Minny” Lee New York, New York May 2014 Copyright © 2014 by Minjung “Minny” Lee All rights reserved CONTENTS Acknowledgements v List of Illustrations vi Introduction 1 Chapter 1. Umbrico’s Transformation of Vernacular Visions Found on Flickr 14 Suns from Sunsets from Flickr and the Flickr Website 14 Working Methods for Suns from Sunsets from Flickr 21 Changing Titles 24 Exhibition Installation 25 Dissemination of Work 28 The Temporality and Mortality of Umbrico’s Work 29 Universality vs. Individuality and The Expanded Role of Photographers 31 The New Way of Image-making: Being an Editor or a Curator of Found Photos 33 Chapter 2. The Ephemerality of Digital Photography 36 The Meaning and the Role of JPEG 37 Digital Photographs as Data 40 The Aura of Digital Photography 44 Photography as a Tool for Experiencing 49 Image Production vs.
    [Show full text]
  • Image-Based Abuse, Non-Consensual Pornography, Revenge Porn: a Study of Criminalization and Crime Prevention in Australia and England & Wales
    Yar & Drew – Image-Based Abuse, Non-Consensual Pornography, Revenge Porn Copyright © 2019 International Journal of Cyber Criminology – ISSN: 0974–2891 July – December 2019. Vol. 13(2): 578–594. DOI: 10.5281/zenodo.3709306 Publisher & Editor-in-Chief – K. Jaishankar / Open Access (Authors / Readers No Pay Journal). This is a Diamond Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC-BY-NC-SA 4.0) License, which permits unrestricted non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited. Image-Based Abuse, Non-Consensual Pornography, Revenge Porn: A Study of Criminalization and Crime Prevention in Australia and England & Wales Majid Yar1 University of Hull, United Kingdom Jacqueline Drew2 Griffith Criminology Institute, Australia Abstract Distribution of nude, intimate and sexualized images of individuals without consent and against the wishes of those individuals whose image has been captured, is of growing concern across the world. Moving from the conceptualization of ‘revenge porn’ in the early 2000’s, through to our more sophisticated understanding of the issues of “image-based abuse” and “non-consensual pornography” this paper considers the broad context of these crimes. The paper draws on the concepts of online misogyny, gender-based victimization, and “toxic masculinity”. The progress towards criminalization of such online abuse, with reference to the recent introduction of new laws in England & Wales and Australia is examined. This shift from voluntary to statutory regulation, and from civil to criminal law remedies has been coupled with new crime prevention and control initiatives that seek to encourage reporting leading to prosecution and educate users and empower victims.
    [Show full text]
  • America Through Street Photography
    From the Instructor Sarah wrote this piece for my section of the Genre and Audience WR X cluster. Students had undertaken semester-long research projects and, in the final assignment for the course, were asked to reimagine their academic arguments for a public audience. Deciding to write in the style of The New Republic, which is, in the publication’s own words, “tailored for smart, curi- ous, socially aware readers.” Sarah’s focus on street photography brings her research on classic American images to a non-expert audience with diverse professional and disciplinary perspectives, appealing to their interests in history and the arts while tapping into contemporary culture. — Gwen Kordonowy WR 150: The American Road 135 From the Writer When I enrolled in an experimental writing class entitled “The American Road,” I assumed that the semester would be filled with discussions about the physical American road, its attractions, and its place in American history. While the physical road was an important subject in the class, I learned that this “American Road” was expansive beyond its physical limi- tations, able to encompass topics as broad and abstract as social progress, popular television shows, and, in my case, photography. I ultimately chose to investigate the works of two American street photographers, Robert Frank and Lee Friedlander, whose approaches to photography reveal much about life in America and what it means to be an American. While both photographers frequently feature the road in their pictures, I chose to focus more on the people and culture found alongside it and how they represent America.
    [Show full text]
  • Making Sense of the Selfie: Keywords: Rudolfs Blaumanis, Gottfried Keller, 19Th Century Literature, Latvian Litera­ Ture, Autobiographical Novel, Art and Artist
    46 RAKSTI BENEDIKTS KALNACS 47 Artist. Reality, and (Auto)biography ALISE TIFENTALE in Rudolfs Blaumanis's and Gottfried Keller's Fiction Making Sense of the Selfie: Keywords: Rudolfs Blaumanis, Gottfried Keller, 19th century literature, Latvian litera­ ture, autobiographical novel, art and artist. Digital Image-Making Summary and Image-Sharing in Social Media The paper discusses aspects of the Latvian writer's Rudolfs Blaumanis (1863-1908) fiction in comparative perspective. An important aspect of Blaumanis's efforts was devoted to the discussion ofindividual life stories of his characters, and he also dealt with the possibility or impossibility of a person to become his or her true self in the interpretative contexts ofthe l 9th century society and culture. In European perspective, Keywords: History of photography, digital photography, social media, the image of an artist was often put at the centre of writers' attention, and the paper Ins tagram, self-portraits, software studies. provides one such case study, a discussion of the Swiss author's, Gottfried Keller autobiographical novel "Green Henry" (Der Grune Heinrich, 1st version 1855, 2nd Introduction version 1880) to which the works ofBlaumanis are then compared. The paper deals with some of the Latvian author's most important novellas, written between 1882 and 1898, A wide range of photographic practices has flo urished outside the and discusses the impossibility of artistic career in the context of the 19th century institutional framework of the art world or commercial photography since Latvian society due to different historical and social background as discussed in the early 1900s, when the availability and ease of use of the Kodak Brownie Blaumanis's texts.
    [Show full text]
  • Flickr and Public Image-Sharing: Distant Closeness and Photo Exhibition
    Flickr and Public Image-Sharing: Distant Closeness and Photo Exhibition Nancy A. Van House Abstract School of Information This paper presents an empirical study in progress of University of California, Berkeley the use of Flickr.com™, part of an on-going research Berkeley, CA 94720-4600 program on personal digital media, including images. [email protected] Two new kinds of image-sharing with Flickr are “distant closeness” and “photo exhibition.” We are seeing changing uses of images in social interaction and increased multi-modal communication. Keywords digital photos, distant closeness, Flickr.com, photography, photo sharing, social networking ACM Classification H5.m. Information interfaces and presentation (e.g., HCI): Miscellaneous Introduction The popularity of image-sharing sites like Flickr.com™ allows us to observe what “ordinary” users do when given the ability to more readily incorporate images in their everyday activity. More generally, we are seeing Copyright is held by the author/owner(s). large numbers of people engaged in the creation and CHI 2007, April 28May 3, 2007, San Jose, California, USA. sharing of new media, in the context of a long tradition ACM 978-1-59593-642-4/07/0004. of media use, in this case, personal photography. In this paper, we report on early findings of a study of Third, photos are used for self-representation. People Flickr and put these findings about the uses of new seek to present themselves in such a way as to ensure media and technologies in the context of photographic that others see them as they wish to be seen [7].
    [Show full text]
  • Display, Identity and the Everyday: Self-Presentation Through Online Image Sharing Julia Davies* University of Sheffield, UK
    Discourse: studies in the cultural politics of education Vol. 28, No. 4, December 2007, pp. 549Á564 Display, Identity and the Everyday: Self-presentation through online image sharing Julia Davies* University of Sheffield, UK Drawing on a study of a photo-sharing website (Flickr.com), this paper explores ways in which everyday life is reconfigured through an online photo-sharing space, where traditional boundaries between the public and private spheres are being extended, challenged or eroded. The paper reflects on the presentation and subjects of the images; the narratives within and around them, and the affordances and practices which impact on the ways in which many people review and represent their ‘‘everyday selves and lives’’ online. The interactions on Flickr are presented as instantiating both learning and literacy as a social practice (Barton & Hamilton, 1998; Lave & Wenger, 1991) within a context that can be conceptualised as simultaneously global and local. The paper further considers the relationship between digital and traditional domestic photography, drawing on analyses of photographic representation (Hirsh, 2002; Kuhn, 1995) and contrasts how digital practices affect meanings differently. Introduction A 13-year-old boy is in the kitchen while his mother peels potatoes; holding his prized cameraphone in his palm, he photographs her hands skilfully paring vegetables, capturing the curled trails of muddied skin on the work surface. He is one of millions of new photographers incessantly taking digital shots with cameras they keep with them all the time; he hones in on detail here, but also captured the panoramic moving-images of the waving sea of football fans at last Saturday’s match.
    [Show full text]
  • Digital Visual Cryptographical Image Sharing Using DIM
    ISSN(Online): 2319-8753 ISSN (Print): 2347-6710 International Journal of Innovative Research in Science, Engineering and Technology (An ISO 3297: 2007 Certified Organization) Website: www.ijirset.com Vol. 6, Issue 4, April 2017 Digital Visual Cryptographical Image Sharing Using DIM Bhagyashri Machale1, Prajakta Baravakar1, Padmashri Thorat1, Tejshri Bavale1, Prof.Pankaj Agarkar2 U.G. Student, Department of CSE, Dr.D.Y.Patil School of Engineering, Lohegaon Pune, Maharashtra, India1 Professor, Department of CSE, Dr.D.Y.Patil School of Engineering, Lohegaon Pune, Maharashtra, India2 ABSTRACT: In this paper, we search technique on how to ameliorate the safety for an original data by hiding important data behind cover image (which may be digital or printed image) by using data hiding, cryptography and NVSS algorithm. The proposed system hides the secret data which is first encrypted and then is hidden behind a one of the patch of a cover image. The total effort of the proposed method is the achievement of hiding and extracting secret images and secret data. In proposed method, we have tried to improve the capacity of the original scheme by improving the capacity of hiding data and increasing security to send image through different media. Our method increase security, efficiency and reliability of the any persons, systems,or organisations important data which is autherised by using data hiding, cryptography method and NVSS algorithm. The natural shares which are unchanged are distinct and inofensive, hence it mainly decreases the risk of traject over communication media. The proposed approach is best for solving the problem of transmission risk for the VSS schemes is shown by experimental results.
    [Show full text]
  • An Exploratory Perception Analysis of Consensual and Nonconsensual Image Sharing
    International Journal of Cybersecurity Intelligence & Cybercrime Volume 2 Issue 2 Article 3 9-6-2019 Limited research has considered individual perceptions of moral distinctions between Anconsensual Explor andat nonconsensualory Perception intimate Analysis image sharing, of Consensual as well as decision and making parameters around why others might engage in such behavior. The current study conducted a perception analysisNonconsensual using mixed-methods Image online Sharing surveys administered to 63 participants, inquiring into their perceptions of why individuals engage in certain behaviors surrounding the sending of intimate images from friends and partners. The study found that respondents favored the concepts of (1) sharing images with romantic partners over peers; (2) sharing non-intimate images over intimate images; and (3) sharing images with consent rather than without it. Furthermore, participants were more willing to use their own devices to show both intimate and non-intimate images rather than posting on social media or directly sending others the image files. Drawing on descriptive quantitative and thematic qualitative analysis, the findings suggest that respondents perceive nonconsensual image sharing as being motivated by the desire to either bully, “show off,” or for revenge. In addition, sharing intimate digital images of peers and romantic partners without consent was perceived to be troubling because it is abusive and/or can lead to abuse (when involving peers) and a violation of trust (when involving romantic partners). nonconsensual pornography, revenge porn, sexting, perception analysis, online intimate image sharing Follow this and additional works at: https://vc.bridgew.edu/ijcic Part of the Criminology Commons, Criminology and Criminal Justice Commons, Forensic Science and Technology Commons, and the Information Security Commons Recommended Citation Lee, J.
    [Show full text]
  • Personal Photography, Digital Technologies and the Uses of the Visual
    Visual Studies, Vol. 26, No. 2, June 2011 Personal photography, digital technologies and the uses of the visual NANCY A. VAN HOUSE Photography has been a wildly successful consumer I define personal photography as that which is done by technology. The shift from film to digital has, if anything, non-professionals for themselves and their friends and increased both photographic activity and enthusiasm on intimates. It subsumes but is not limited to family and the part of photographers, viewers and subjects. In this tourist photography. A critical question for researchers article, I address empirically and theoretically the practical and designers of new technologies is why some doing of ordinary, daily photography as it has moved from technologies are more readily used than others, and how film to digital. I describe findings from my own empirical people appropriate technologies to their own ends. work over several years with a wide range of people Digital personal photography is of interest in its own engaged in both film and digital photographic technologies, right, but also as a case study of a technology that has including camera-phones and online image-sharing. been smoothly incorporated into on-going practice. Current developments in digital image-related technologies are changing the publicness, temporality and volume of This paper addresses both empirically and theoretically personal photographic images. I describe personal the doing of ordinary, daily photography as it has moved photography as, in effect, multiple, overlapping from film to digital. I draw on my own empirical work technologies: of memory; relationships; self-representation; over several years with a wide range of people engaged in and self expression, all of which are changing in the digital both film and digital photography.
    [Show full text]
  • Microstock Photography
    Microstock Photography How to Make Money from Your Digital Images Douglas Freer AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Acquisitions Editor: Cara Anderson Developmental Editor: Valerie Geary Publishing Services Manager: George Morrison Project Manager: Kathryn Liston Editorial Assistant: Kathryn Spencer Marketing Manager: Marcel Koppes Interior and Cover Design: Alisa Andreola Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2008 Quentin Douglas Freer Bargate. Published by Elsevier Inc. All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, E-mail: permissions@ elsevier.com. You may also complete your request on-line via the Elsevier homepage (http://elsevier .com), by selecting “Support & Contact” then “Copyright and Permission” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Application submitted British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-80896-3 For information on all Focal Press publications visit our website at www.books.elsevier.com 08 09 10 11 12 10 9 8 7 6 5 4 3 2 1 Printed in China.
    [Show full text]
  • Martin Douglas Hendry Phd Thesis [Final
    The Networked Camera: A qualitative analysis of the practices of image sharing using digital technologies Martin Douglas Hendry Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Design October 2016 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to other’s work. This copy is supplied on the understanding that is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 2016 The University of Leeds and Martin Douglas Hendry 1 ACKNOWLEDGEMENTS This thesis could not have been completed without the support of several key people. Firstly, I would like to thank my primary supervisor Dr. Kishore Budha for his support throughout the study, both academically and personally. Secondly, I would also like to thank the secondary members of my supervisory team Professor Stephen Westland and Dr. Vien Cheung for their patience and understanding and support. Thirdly I would like to thank all of my peers over the course of the past four years who have supported me through their shared experience and advice. Furthermore, I would like to express my appreciation of the participants and contributors involved throughout the study, for both: their time and contributions to the data collection phase. Finally, I would like to thanks my support network of family and friends; as well as any other actors who have directly or indirectly supported this endeavour over the course of the past four years; especially Manju Sugathan, whose support and provocation has proven invaluable.
    [Show full text]