Abstract
ABSTRACT Recent studies have shed light on the masculine nature of the doxa that underpins the field of photography. Other studies have explored the patterns of inequity faced by local-foreign photographers in the Global South who straddle a transnational field of photography within which actors from the Global North and South collaborate but residual economic and symbolic power remain with agents and institutions centred in the Global North. This study draws upon and extends both these lines of inquiry through exploring the professional experiences of 20 female-identifying photographers based in 18 countries across four different geo-cultural regions in the Global South. The article discusses their experiences of marginalisation as marked by three broader themes: precarity, isolation and invisibility/partial visibility. Through this, the article highlights how the gender-based exclusions shown to be inherent in the doxa of national fields of photography may be understood to be additionally intersected by geo-cultural exclusions in what is recognised as cosmopolitan capital within the doxa of local-foreign photographic practice.
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