Through the photographic industry has worked to convince the public that photography is an easily accessible medium there are different cultures within photography. Light Paths, for instance, aims to open up, and construct, a digital space between the culture of commercial photography (working for a client) and the culture of the camera clubs and hobbyists with their emphasis on photography as a leisure activity, competition and the beautiful image/print. The emphasis is on photographies.
It is true that In the public art gallery, photography departments are being absorbed into general “works on paper” departments, or into “modern” or “contemporary” departments. Moreover, in the university photography is slowly losing its place as a singular course of study as less tenure-track positions are filled and general courses are offered in lieu of specialized topics. The consequence of art institutions absorbing the medium into general courses and large art gallery departments is that photographs are no longer recognized for their incredible singularity of both process and product. Photography has gained its place in the visual arts, only to lose some of its uniqueness
The idea of photographies is one response to this. Some photographers have turned to processes or products that are uniquely photographic in nature, creating work that embraces ontological aspects of the medium. Photographers are also embracing film or alternate processes, hand-manipulating their photographs, or staging subjective compositions. Others are creating projects that interact with photo history or archival images, emphasizing a legacy within this singular medium. Photography groups are again emerging online, promoting their activities and aesthetics through digital exhibitions.
Others have moved beyond the idea of a photographic medium to situate their image making within the context of a networked digital image.