Abstract
“Chalfen's Home Mode” refers to the everyday use of photography intended for a particular audience, often tied through a familial network. Analyses of digital photographic practice risk collapsing home mode photography into public mode photography, losing touch with the importance of the home mode for describing everyday life. Through a reading of popular Twitter photography and digital file formats, the elision of the home mode is read as a sign of an emerging raw mode at work in digital culture that is important in itself. Parsing the distinction between the raw and home modes is necessary to understand emerging digital image practices and their political potential.
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