Digital photography: communication, identity, memory

Abstract

Taking photographs seems no longer primarily an act of memory intended to safeguard family's pictorial heritage, but is increasingly becoming a tool for an individual's identity formation and communication. Digital cameras, cameraphones, photoblogs and other multipurpose devices seem to promote the use of images a the preferred idiom of a new generation of users. This article's aim is to explore how technical changes (digitization) in connection to growing insights in cognitive science and to socio-cultural transformations, have affected personal photography. The increased malleability of photographic images may suit one's need for continuous self-remodeling and instant communication and bonding. However, that same manipulability may also lessen our grip on our images' future repurposing and reframing. Memory will not be eradicated from digital multipurpose tools. Instead, the function of memory reappears in the networked, distributed nature of digital photographs, as most images are sent over the internet and stored in virtual space.

Digital Passages: Migrant Youth 2.0. Diaspora, Gender and Youth Cultural Intersections

“…236-237). For example, on SNSs selfies and other photos are used as identity building blocks that assist in sustaining peer groups (Van Dijck, 2008). Such online photo sharing transforms the boundaries between publicity and privateness (Lasén & Gómez-Cruz, 2009).…”

Imagens do passado e do futuro: o papel da fotografia entre memória e projeção

“…O compartilhamento frequente de fotografias, pessoais ou não, é indicador de uma permanente reconstrução de si e do mundo. Dijck (2008) afirma que tirar fotografias pode ser mais uma ferramenta individual, comunicação de formação de identidade do que um modo de conservar a herança pictórica da família. A autora se refere de modo mais preciso às manipulações fotográficas que buscam modificar a fotografia de modo que ela traduza a imagem mental de si que o indivíduo tem ou deseja transmitir, mas é possível afirmar que, mesmo nos casos em que não há manipulação, a revisão dos desejos está presente, já que o impulso do compartilhamento só ocorrerá se algo na imagem em causa estiver provocando alguma perturbação -positiva ou negativa.…”

Towards an Analysis of Tourists’ Smartphone” Photography

“…A photo of a person with HK's night scene as background is the best way to prove that this person has been to The Peak. Thus, photography serves as various purposes, such as memory and proof [7]. Whether it is good or not, as long as a person regards the view as valuable to him/her, he/she may take the photo of it.…”

“…Due to the characteristics of scenery, the best way to own the "beautiful" scenes is to take photo of it [9]. The materialized photos make people feel a sense of permanent possession [7].…”