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The Museum as a collector of vernacular born-digital photographs: a case study of the family camera network collection at the Royal Ontario Museum.
16 references·0 citing·34 second hop
The Museum as a collector of vernacular born-digital photographs: a case study of the family camera network collection at the Royal Ontario Museum. (2021)The Museum as a collector of vernacular b…Digital Preservation for Libraries, Archives, and Museums (2017)Digital Preservation for Libr…“The Family Camera Network” (2017)“The Family Camera Network”Snapshot photography: the lives of images (2014)Snapshot photography: the liv…Digital Preservation for Libraries, Archives and Museums (2014)Digital Preservation for Libr…Ubiquitous Photography (2013)Ubiquitous PhotographyNew media and vernacular photography: revisiting Flickr (2013)New media and vernacular phot…Refracted Visions: Popular Photography and National Modernity in Java (2010)Refracted Visions: Popular Ph…Doing Family Photography: The Domestic, The Public and The Politics of Sentiment (2010)Doing Family Photography: The…Digital cameras and domestic photography: communication, agency and structure (2009)Digital cameras and domestic …Digital photography: communication, identity, memory (2008)Digital photography: communic…Digital Images, Photo-Sharing, and Our Shifting Notions of Everyday Aesthetics (2008)Digital Images, Photo-Sharing…Forget Me Not: Photography & Remembrance (2004)Forget Me Not: Photography & …A Guide to the Preventive Conservation of Photograph Collections (2003)A Guide to the Preventive Con…Vernacular photographies (2000)Vernacular photographiesSnapshots: The Photography of Everyday Life, 1888 to the Present (1998)Snapshots: The Photography of…The reconfigured eye: visual truth in the post-photographic era (1993)The reconfigured eye: visual …Photography: a middle-brow art (1991)Change Mummified: Cinema, Historicity, Theory (2001)The Language of New Media (2002)A Networked Self (2010)The Quadruple Object (2011)The Culture of Connectivity (2013)Family Frames: Photography, Narrative and Postmemory (1997)Camera Lucida: Reflections on Photography (2001)Extended Self in a Digital World: Table 1. (2013)Follow me and like my beautiful selfies: Singapore teenage girls’ engagement in self-presentation and peer comparison on social media (2015)Instafame: Luxury Selfies in the Attention Economy (2015)Powers of Horror: An Essay on Abjection (1984)The painted photograph, 1839-1914: origins, techniques, aspirations (1997)Family photographs and domestic spacings: a case study (2003)‘Everyone's cuddled up and it just looks really nice’: an emotional geography of some mums and their family photos (2004)A world history of photography (2008)Posing in Prison: Family Photographs, Emotional Labor, and Carceral Intimacy (2015)On the Relation between ‘Visual Research Methods’ and Contemporary Visual Culture (2013)The Modern Day Baby Book (2015)Cultural geography II: The force of representations (2018)College student Web use, perceptions of information credibility, and verification behavior (2003)The Cultural Logic of Photo-Based Meme Genres (2014)Colour measurement of acid-detector strips for the quantification of volatile organic acids in storage conditions (2016)The effect of disinfection methods on the stability of photographic gelatin (2016)Novel markers to early detect degradation on cellulose nitrate-based heritage at the submicrometer level using synchrotron UV–VIS multispectral luminescence (2021)The selfie and the transformation of the public–private distinction (2016)Images, Politicians, and Social Media: Patterns and Effects of Politicians’ Image-Based Political Communication Strategies on Social Media (2020)Artificial Communication (2022)A LIFE MORE PHOTOGRAPHIC (2008)The Polaroid Image as Photo-Object (2010)The Cultural Politics of Aspiration: Family Photography’s Mixed Feelings (2018)Objects of Affect: Photography Beyond the Image (2012)Anthropology and Photography: A long history of knowledge and affect (2015)#selfie: digital self-portraits as commodity form and consumption practice (2015)
this work references cited by second hop

References

  • 2008Digital photography: communication, identity, memory511 cited
  • 1993The reconfigured eye: visual truth in the post-photographic era411 cited
  • 2010Doing Family Photography: The Domestic, The Public and The Politics of Sentiment254 cited
  • 2008Digital Images, Photo-Sharing, and Our Shifting Notions of Everyday Aesthetics224 cited
  • 2010Refracted Visions: Popular Photography and National Modernity in Java179 cited
  • 2013Ubiquitous Photography118 cited
  • 2003A Guide to the Preventive Conservation of Photograph Collections111 cited
  • 2014Snapshot photography: the lives of images85 cited
  • 2000Vernacular photographies83 cited
  • 2004Forget Me Not: Photography & Remembrance73 cited
  • 1998Snapshots: The Photography of Everyday Life, 1888 to the Present65 cited
  • 2017“The Family Camera Network”54 cited
  • 2009Digital cameras and domestic photography: communication, agency and structure42 cited
  • 2017Digital Preservation for Libraries, Archives, and Museums33 cited
  • 2013New media and vernacular photography: revisiting Flickr24 cited
  • 2014Digital Preservation for Libraries, Archives and Museums

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