Since the release of the first generation iPhone in 2007, the popularity of smartphones has
increased exponentially. As of 2015, two billion smartphones are in use. It is projected that
in 2020 two-thirds of the world will use smartphones. One of the features which underpins
the popularity of smartphones is camera which allows users to capture and share images
quickly and easily. The smartphone is different from older cameras for three reasons. First,
it is held continually in users’ possession. Secondly, smartphones are connected to data
networks e.g. cellular and WiFi internet. Thirdly, smartphones offer users customizable
camera functions; achieved through use of different software tools.
As a consequence of the above, smartphone users are capable of creating and sharing
photographic images whenever they wish, with global reach – and in a variety of ways.
This thesis investigates the extent that smartphone hardware and software tools are
transforming personal photography. To achieve this, the researcher develops a theoretical
framework merging: the underpinnings of photography and personal photographic
practices through literature review. Then, contemporary smartphone photographic
practices are investigated through a set of 6 focus groups with 13-18, 18-25 and 25-35yr
olds. Findings are interrogated through application of the framework to identify
significant transformations and consistencies with precedent.
In lieu of these transformations, a series of design principles are generated for personal
photography. These principles characterise the current and enduring expectations users
have of personal photography; as well as providing an outline for their future course.
These principles offer opportunity for: application in current technologies (e.g. novel or
optimized smartphone software tools); reflection upon current limitations of previous
photographic technology; and development of emerging photographic technologies.
This study includes two key contributions. First: a novel framework is formulated that
roots personal photography’s rapidly changing social and technological circumstances in
its precedent and ontology. Second: via this framework, the accelerated transformation of
personal photography away from a representation act to a mechanism of social exchange
(coinciding with smartphone use) is described. This offers scope for: 1) academic enquiry;
by further developing the model and exploring ongoing change; and 2) industry
development; by configuring new tools and collaborating with existing stakeholders to
explore the many untapped opportunities in personal photography as it exists today.
