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With the ubiquitous spread of the Selfie as a central feature of millennial digital practices, this article examines the impact of digital media on the traditional uses of the snapshot as a record of private life, particularly in terms of the family and circles of friends. It argues that the affordances of digital photography and social media lead to a transformation of the snapshot into the Selfie. The Selfie as a kind of performance impacts the social practices of family photography in a variety of ways. Some positive, in that the affordances of digital photography put the opportunity for the public circulation of self-selected Kodak “moments” which show the individual in the best possible light; and some negative since the new emphasis on the body as a vehicle of self-expression sustains a tournament based on appearances. The resultant shift from notions of the gift economy implicit in practices of family photography leads to the personal snapshot becoming a proto-commodity form in which the competitive logic of Celebrity culture pervades the social exchange of the photograph. The chapter closes with consideration of the importance of the Selfie across the life course and the logic of self-impression management as a digital performance.

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.

This chapter describes sociological research on the material and spatial dimensions of everyday family life in the United States, with a specific emphasis on how children’s agency is manifest in the display and use of childhood and parenthood objects in home spaces. Children’s agency is framed as a juxtaposition of individual control and cultural and structural constraint, but also as it positions children in relation to adults, home spaces in relation to not-home spaces, and families in relation to other social realms such as the marketplace, schools, and the digital world. Three research topics are featured, all of which stem from the author’s projects spanning the last decade. These include parenting roles as shown in the taking and managing of digital and physical family photographs, children’s use of technology as a way to tell the story of parent–child connectedness in families separated into two homes, and young adults’ use of objects and spaces to signify role transition into adulthood. The central themes emerging from this research are supported by a theoretical foundation that combines Corsaro’s (2012) interpretive reproduction of childhood alongside Anderson, Moore, and Suski’s (2016) call for material mindfulness in sociological investigations of the home.

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.

The purpose of this paper is to consider the challenges of using participant-produced photographs in family food research.

Families participating in a study on family dinners agreed to take photos of their weekday evening meal using their mobile phone and a Selfie-Stick. These images were subsequently used as a photo elicitation cue in a long interview.

“Selfies” or participant directed photographs, are a way to involve all family members in the research. Giving participants control over the composition and production of the image reveals how participants see themselves and how they wish to be seen while uncovering some of the physical, material and social realities of contemporary family practice. Photographs not only capture rich contextual and spatial details but also act as an aide memoir and interview stimulus to investigate broader socialisation around family feeding. Visual images reveal otherwise unrecalled aspects of the family dinner and encourage more reflection and discussion by participants around the social realities of their family practice. Photographs taken using a mobile phone and selfie stick complement and stimulate traditional methods of qualitative investigation.

The paper contributes to the debate about the challenges in using visual methods and how the selfie technique can be used, the photographs shared and visual data incorporated as part of the research method. As communicative affordances, the mobile phone, camera and selfie stick frame the practices around family dinner and afford the subject an agentic perspective as both producer and consumer of the image.

The purpose of this paper is to examine mothers’ social media accounts that focus on children’s fashion. The authors probed children’s fashion photo practices as representations of the mothers’ extended self and the kind of childhood representations produced by the social media accounts. They also investigated mothers’ perceptions of children’s privacy when engaging in sharenting – the sharing of information about children or parenting online.

The study is based on 16 semi-structured interviews with Finnish mothers who had Instagram accounts focusing on children’s fashion.

Children’s fashion photos play a diverse role in mothers’ identity work. The photos can be used to express a mother’s taste and aesthetic skills, to express values, to fit into peer groups and to store memories of oneself and the children. Through the photos, representations of the prevailing Finnish childhood ideals, such as authenticity, naturalness and playfulness, are reproduced. The mothers perceived the children as part of their extended self and justified sharenting with mother- and child-centered arguments.

Through shedding light on the practices of social media fashion photography, this paper provides insights into how commercialism and social media shape cultural expectations for both motherhood and childhood. The paper contributes to previous research on sharenting, extending it to the context of fashion photography.

To discuss two research projects, illuminating the ways in which digital technologies are both enfolded into people’s lives and open up new possibilities for practice that, in turn, have to be managed. To revisit this material to reflect on the benefits and limitations of in-depth interviewing for understanding the dynamics of new textual and visual forms of data in everyday life.

A broadly relational approach to technology and practice was employed, pursued through in-depth interviewing in two research projects about digitization and memory making.

In employing the qualitative method of in-depth interviewing to focus upon what people regularly do, the chapter shows how the material and mediating capacities of networked digital technologies such as cameras and smartphones are enacted and actively negotiated in relation to expectations and conventions about the temporality and visibility of personal life through diverse memory practices. These can be considered multiple ‘practices of adaptation’.

The research reported on provides some novel ways of thinking about devices and data in relation to practice.