Street Photography Ethics

Visual Studies, 2015

This chapter considers two phenomena, both of which involve the digitally-mediated collection and sharing of images of people without their knowledge or consent. In the first, “creepshots,” individuals take surreptitious photographs and share them on online message boards. In the second, individuals scour virtual street maps (such as Google Street View) for “notable” images that are then placed elsewhere online for others to review. In both cases, there is a large and anonymous audience viewing the images. In both cases, women in public or quasi-public spaces are the overwhelming targets of this digital gaze. In both cases, the online commentary quickly becomes sexual in nature, and is frequently overtly hostile. This chapter argues that these practices implicate different kinds of harms — broader, more diffuse — than conventional privacy invasions. As such, rather than being understood through the rubric of ‘privacy’ they are better understood as a new form of public surveillance. Consequently, legal mechanisms grounded in the typical (liberal) dichotomous understanding of what is public and what is private are unlikely to prove an adequate solution.

The Routledge Companion to Mobile Media Art., 2020

History of Photography, 2017

Compendium of Contemporary Legal Issues, 2019

The scientific monograph "Compendium of Contemporary Legal Issues" deals with the selected and contemporary (current) issues of human rights protection. The themes of the twelve articles thus concern the protection of the child's interests, freedom of speech, right to be forgotten, protection of air passengers and possible violations in corporate law, protection of privacy and personal data, and on selected criminal offences (eg. pedophilia, murder ...). The themes are carefully selected and present contemporary open or particularly problematic areas that are exposed to violations and thus interference with fundamental human rights and freedoms. Additional attention is given to the victims of these violations in most of the contributions, when the most vulnerable persons of our society appear as victims (eg children). The topics of articles are related to the national legal systems (Slovene and Turkish) and international regulations.

2018

With all the public information about any famous person, topic or event 'googleable' on the Internet, there seems to be nothing new for 'digital natives' to discover other than the elusive Self. The Self is the 'new frontier' and the smartphone camera is at the forefront of this quest, unearthing and exhibiting different kinds of content everyday. With over 95 million photographs and videos shared on Instagram daily; Photography has merged with social networking sites and applications (SNS/A) to become a recognisable phenomenon called-'Social' Photography. Despite its rich association with legitimate visual art-forms and numerous scholarly articles examining it's various forms-the term 'Social' Photography is unfamiliar to most. This inquiry discusses 'Social' Photography in relation to existing literature to argue for its establishment as a legitimate discipline within the Creative Arts. By acknowledging its subjectivity and utilization of digital technologies, this study employed an interpretive group of methods and identified six characteristics of 'Social' Photography-namely, (i) Activity, (ii) Participation, (iii) Identity, (iv) Glamour, (v) Protest, and (vi) Spectacle-that exemplify its capacity to curate a meaningful democratic public image. These six aspects can be used to categorize and formalize individual behaviour that can be analysed and interpreted to foster a better understanding of 'Social' Photography as a discipline.

Visual Studies, 2024

Taking advantage of developments in digital technology and the transmission of information, citizens' photography has become a common way that ordinary people, rather than exclusively professionals, now produce knowledge. It also represents the promise of a democratisation of information-making and distribution. After defining citizens' photography, this article offers a comparative analysis of its performance in the spheres of media/journalism, the social sciences, and human rights organisations, and shows its role in each field and its intricate relationship with experts in those fields. The analysis in these fields is concerned with the historical formation of such photography, the source of citizens' photography's strength or fragility, and its conditions. While most scholars have considered this practice in a single, isolated field of knowledge, this article seeks to understand its centrality to a civil politics of visual participation via a comparative approach. The article concludes with a detailed description of one of the first citizens' photography projects in Palestine: 'Palestinian Diaries' (1990), which is unknown to local residents because it was broadcast only in Europe.

Behind the Image, Beyond the Image, 2022

Due to its intrinsically objectual nature and its extra-artistic, capitalistic, and coercive public uses, photography holds a highly problematic position in contemporary art practices in urban space. Nevertheless, the growing number of outdoor photographic exhibitions calls for a reconsideration of its critical paradigms. This paper, therefore, presents the main issues related to photographic displays in shared urban space, discussing two case studies – i.e., Steve McQueen’s Year 3 project (London, 2019) and JR’s La Ferita – The Wound (Florence, 2021) – through the socially engaged art lenses of participation, duration, and the artists’ role towards the communities.

2012