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This paper aims to investigate the effects of virtual reality experiences (VREs) and emotions on holiday destination visit intentions by applying the stimulus-organism-response (S-O-R) framework. It also examined the role of amateur photography as a moderator in the relationship between VREs, emotions and visit intentions.

Primary data were collected through a structured survey questionnaire administered in India, and structural equation modelling (SEM) was used to examine relationships among variables. The formal survey was preceded by a pilot study. The partial least squares-SEM product indicator technique was applied to measure the moderation effect of amateur photography.

When people have high levels of positive emotions in the pre-travel stage with VRE participation, their intentions to visit destinations are stronger. Amateur photography moderated the relationships between user interactivity, memorable experiences, mental imagery and visit intentions. No significant moderating effect was found between emotional experiences and visit intentions.

The results indicate that creators of virtual reality (VR) communications should concentrate on producing interactive and visually striking VR content, as the research found that VR experiences with tourism-related activities have a significant impact on potential visitor emotions. Therefore, VR producers should incorporate authentic and distinctive elements into contents, giving viewers realistic and trustworthy VR tourism experiences. Destination marketers should evoke emotions in people to increase motivations to visit the VR-presented places. Destination marketers should create VR content with hedonic elements, fostering a connection and desire to visit the destination presented in the VR. For example, destination marketers can enhance the sensory aspects of VR content with audio, video, haptics and artificial intelligence, encouraging people to be emotionally captivated and fully immersed. The findings indicate that amateur photography has a significant moderating effect on prospective tourists’ intentions to visit a place presented in VR. Thus, destination marketers are advised to provide photogenic and relevant content to users. By using amateur photography, destinations can market their attractions to potential visitors in a more interactive and relatable manner. Showcasing images taken by amateur photographers presents a genuine perspective of the offerings, thereby increasing visit intentions among prospective visitors. Additionally, amateur photography helps promote the destination in a positive light, emphasizing the attractions and other offerings, and this encourages potential visitors to consider the destination as a travel option, thereby increasing visit intentions. Encouraging amateur photographers to take and share images also increases their engagement with the destination, creating a sense of community and connection and ultimately driving visit intentions. Destination marketers should embrace VR tourism content as a means of promoting their destinations to potential customers by considering the three crucial elements of memorable experiences, emotional experiences and mental imagery. In essence, destination management organizations and other decision makers should develop complete VR communication plans that incorporate interactive and visually striking activities. This can be done by creating VR experiences for prospective tourists, which will enable them to pick their preferred destinations at the pre-travel stage. Through this approach, an effective destination marketing strategy can be established.

This research has value in making several potential contributions to the tourism applications of VR. It is the first study to use and test the S-O-R framework to analyse tourist behaviour from the perspective of emotions generated by VR applications. The analysis focuses on India’s tourism market, which has not been explored much in the context of VR and from the perspective of a developing country. The research emphasizes the use of VR as a tool to understand tourist behaviour rather than just focusing on visit intentions. The findings provide valuable insights into the importance of VR in tourism. The knowledge generated will contribute to the understanding of the impact of VR experiences on emotions and visit intentions and the moderating effect of amateur photography. It has practical implications for destination marketers in developing effective marketing strategies that enhance tourists’ emotions and motivate visit intentions.

本研究运用刺激-机体-反应(S-O-R)框架, 探讨虚拟现实体验（VREs）和情绪对度假目的地旅游意向的影响。还研究了业余摄影在VREs、情感和访问意图之间的关系中的调节作用。

通过在印度进行的结构化调查问卷收集原始数据, 并使用结构方程模型(SEM)来检查变量之间的关系。在正式调查之前进行了一项试点研究。采用PLS-SEM结果指标方法测量业余摄影的调节效果。

当人们在旅行前的VRE参与阶段拥有高水平的积极情绪时, 他们访问目的地的意愿会更强。业余摄影调节了用户交互性、纪念体验、心理意象和访问意图之间的关系。情绪体验与访问意向之间无显著调节作用。

本研究对虚拟现实的旅游应用有几个可能的贡献。这是第一个使用并测试刺激-生物-反应(S-O-R)框架的研究, 从VR应用产生的情感角度分析游客行为。分析集中于印度的旅游市场, 而在VR的背景下和从一个发展中国家的角度来看, 印度的旅游市场还没有得到太多的探索。该研究强调将VR作为一种了解游客行为的工具, 而不仅仅是关注游客的意图。这些发现为VR在旅游业中的重要性提供了有价值的见解。所产生的知识将有助于理解VR体验对情绪和访问意图的影响以及业余摄影的调节作用。这对目的地营销人员制定有效的营销策略, 增强游客的情绪和激发旅游意图具有实际启示。

Esta investigación analizó los efectos de las experiencias de realidad virtual (VREs) y las emociones en las intenciones de visita a destinos vacacionales aplicando el modelo estímulo-organismo-respuesta (S-O-R). También examinó el papel de la fotografía amateur como moderador en la relación entre las VREs, las emociones y las intenciones de visita.

Los datos primarios se recogieron mediante una encuesta con cuestionario estructurado administrado en la India, y se utilizó la modelización de ecuaciones estructurales (SEM) para examinar las relaciones entre las variables. La encuesta principal fue precedida de un estudio piloto. Se aplicó la técnica PLS-SEM para medir el efecto moderador de la fotografía amateur.

Cuando las personas poseen un alto nivel de emociones positivas en la etapa previa al viaje con participación en VRE, sus intenciones de visitar destinos son más fuertes. La fotografía amateur moderó las relaciones entre la interactividad del usuario, las experiencias memorables, las imágenes mentales y las intenciones de visita. No se encontró ningún efecto moderador significativo entre las experiencias emocionales y las intenciones de visita.

Esta investigación tiene el valor de hacer varias contribuciones potenciales a las aplicaciones turísticas de la realidad virtual. Es el primer estudio que utiliza y pone a prueba el marco estímulo-organismo-respuesta (S-O-R) para analizar el comportamiento de los turistas desde la perspectiva de las emociones generadas por las aplicaciones de RV. El análisis se centra en el mercado turístico de la India, poco explorado en el contexto de la RV y desde la perspectiva de un país en desarrollo. La investigación hace hincapié en el uso de la RV como herramienta para comprender el comportamiento de los turistas, en lugar de centrarse únicamente en las intenciones de visita. Las conclusiones aportan valiosas ideas sobre la importancia de la RV en el turismo. Los conocimientos generados contribuirán a comprender el impacto de las experiencias de RV en las emociones y las intenciones de visita, así como el efecto moderador de la fotografía amateur. Se presentan implicaciones prácticas para los responsables de marketing de los destinos turísticos a la hora de desarrollar estrategias de marketing eficaces que potencien las emociones de los turistas y motiven las intenciones de visita.

In 1984 the number of photographs taken by people in the U.K. broke the 1 million mark and 75% of all households had a camera. By the end of the millennium (1999) people in Britain spent over 1 billion on cameras, film and processing and the number of photographs taken had exceeded 3 billion.¹ There is little doubt that most people are familiar with cameras, and the majority will be engaged in forms of photographic practice as amateurs, that is as a “pastime” or hobby or as an adjunct to events, activities and leisure in their everyday lives.

While the popular image of the Sherman Act is that of a “trust-busting” statute, conduct remedies have been more common than structural relief. This paper evaluates the effect on economic welfare of conduct remedies that have resulted from ten prominent Sherman Act monopolization cases. In general, we find that in some cases the behavioral relief has had no consequence other than the cost of litigation and cost of compliance; in other cases, the remedies probably reduced consumer welfare. Cases studied are United Shoe Machinery, AT&T, Std. Oil of California, IBM, United Fruit, Kodak, Safeway, GM, Jerrold, and Blue Chip Stamp.

The “photosharing” site Flickr is one of the most commonly cited examples used to define Web2.0. This paper aims to explore where Flickr's real novelty lies, examining its functionality and its place in the world of amateur photography. Several optimistic views of the impact of Flickr such as its facilitation of citizen journalism, “vernacular creativity” and in learning as an “affinity space” are evaluated.

The paper draws on a wide range of sources including published interviews with its developers, user opinions expressed in forums, telephone interviews and content analysis of user profiles and activity.

Flickr's development path passes from an innovative social game to a relatively familiar model of a web site, itself developed through intense user participation but later stabilising with the reassertion of a commercial relationship to the membership. The broader context of the impact of Flickr is examined by looking at the institutions of amateur photography and particularly the code of pictorialism promoted by the clubs and industry during the twentieth century. The nature of Flickr as a benign space is premised on the way the democratic potential of photography is controlled by such institutions. The limits of optimistic claims about Flickr are identified in the way that the system is designed to satisfy commercial purposes, continuing digital divides in access and the low interactivity and criticality on Flickr.

Flickr is an interesting source of change, but can only be understood in the perspective of long‐term development of the hobby and wider social processes. By setting Flickr in such a broad context, its significance and that of Web2.0 more generally can be fully assessed.

Although fewer than 150 years have passed since Jacques Daguerre perfected the first photographic image in 1839, the flood of evolving equipment and applications has already generated a broad and richly varied field. Simultaneously one of the youngest arts and one of the newest technologies, photography is now used in medical research, space exploration, criminal investigations, agricultural production, design of industrial machinery, ad infinitum. At one extreme, it records family life and supplies the surest method of identification on drivers' licenses. At the other end of the spectrum, photography (once denounced in haute couture) has within the past five years not only become an “acceptable” art form, but has assumed centerstage in museums and exhibits throughout the United States and Europe.

The purpose of this paper is to understand how Agfa, a division of IG Farben and Germany's leading producer of photographic equipment, adapted its marketing strategy to the new political environment created by the Nazi regime. This was a time when many consumer goods manufacturers suffered from the state‐driven reallocation of resources favoring the armament industry. Agfa, however, expanded its production well into the war.

This case study is based on archival records of Agfa's sales department.

This paper shows that Hitler's armament drive left room for non‐essential consumer goods such as cameras, film, and photographic paper as they fitted the regime's consumption policy, as well as its import and foreign exchange policy. A pioneer in marketing, Agfa was able to secure its growth strategy and its room to maneuver by focusing its product and promotion program on the socioeconomic needs of the “Volksgemeinschaft” and the “Four Year Plan”.

This paper sheds new light on the often‐underestimated role of consumption during the “Third Reich.” Furthermore, it supports the evolutionary – rather than revolutionary – nature of the history of marketing practice in Germany, as Agfa's interwar marketing policy features many sophisticated modern elements prior to the “Marketing Revolution” of the 1960s.

The chapter aims to highlight developments in photography over the last two centuries, with an emphasis on the switch from analog to digital, and the emergence of Web 2.0 technologies, online photo management sites, and camera phones.

The chapter is a culmination of some of the key literature and research papers on photography, Web 2.0, Flickr, camera phones, and tagging, and is based on the author’s opinion and interpretation.

The chapter reports on how the switch from analog to digital has changed the methods for capturing, organizing, and sharing photographs. In addition, the emergence of Web 2.0 technologies and camera phones have begun to fundamentally change the way that people think about images and the kinds of things that people take photographs of.

The originality of the chapter lies in its predictions about the future direction of photography. The chapter will be of value to those interested in photography, and also to those responsible for the future development of photographic technology.

There are several contenders for the title of being the “pioneer of photography,” of which in France, Louis Jacques Mande Daguerre (1787–1851) is the most internationally famous. In Britain, it is widely accepted that although William Henry Fox Talbot (1800–1877) was not the first to produce photographs, he had a major contribution to the development of photography.