The digitalisation of photography has often been interpreted as a process of dematerialisation. However, empirical studies show that the material dimension is still fundamental to digital photographic practices. By accepting the argument that digitalisation prompted a reconfiguration of photography's materiality, rather than its disappearance, this article examines a phenomenon that has developed on the periphery of, but relating to, digital photography: the reappropriation of analogue technology by 'serious' amateurs. By using data collected during a study on the reappropriation of Polaroid technology, this contribution traces some patterns in the reintegration of materiality within amateur practice, showing how photographers have redefined the role of objects as a reaction to the spread of digital photography.

La rimaterializzazione della fotografia nell’era digitale: il caso dei polaroider

Sergio Minniti
2016-01-01

Abstract

The digitalisation of photography has often been interpreted as a process of dematerialisation. However, empirical studies show that the material dimension is still fundamental to digital photographic practices. By accepting the argument that digitalisation prompted a reconfiguration of photography's materiality, rather than its disappearance, this article examines a phenomenon that has developed on the periphery of, but relating to, digital photography: the reappropriation of analogue technology by 'serious' amateurs. By using data collected during a study on the reappropriation of Polaroid technology, this contribution traces some patterns in the reintegration of materiality within amateur practice, showing how photographers have redefined the role of objects as a reaction to the spread of digital photography.
2016
Lomography
Materiality
Photo-amateurism
Polaroid
The impossible project
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/20.500.12606/18333
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