This book wants to view photography as part of the expanded field of image technologies, operating at a planetary scale where data and the algorithm play an increasingly infrastructural hand. The book proposes that the exponential increase in the quantity of photographic images, uploaded, shared, stored in databases, and operationalized in automated computational systems requires a radically new way of thinking about contemporary photography and visual culture. In setting out to address this situation, the editors suggest that the question of scale and the related concepts of measure and quantity are pivotal in reaching new understandings of what images do. The book aims to ground scale in terms of political agency to bring aesthetic discourse into closer dialogue with developments in media and cultural theory. As such, the book is a welcome and timely contribution to current debates across art, media, and cultural studies in considering not only the fate of photography in computational culture but also new methods of framing the image in social, political, and aesthetic terms,The essays have been organized in three sections to consider, broadly, the politics of scale, the aesthetics of scale, and the technical media of scale. For the authors, scale becomes a new register for photography because of the exponential expansion of images in circulation socially, as well as the increasing deployment of computer vision algorithms in information systems. The image is now inseparable from big data, in which the image at scale becomes calculable and statistical. But for Tomáš Dvorák and Jussi Parikka, organizing the book on the axion of scale is also a dynamic qualification of positioning, in effect a method that privileges quantity and measure as a critical lens. Part 1 sets the stage for understanding scale in terms of the politics of the image. Sean Cubitt considers the mass image as a totalizing database, producing a simulation of the world that no longer distinguishes between real and probabilistic and where the intensification of labor in the network demands new forms of struggle against exploitation. What forms such resistance might take is exampled by Terez Stejskalova, who sees the Instagram feed not as a totality but as a breakdown between technology and human bodies. It is the “poor image” and “bubble vision” noted elsewhere by artist and theorist Hito Steyerl, which is defining of a new medium and a new message, creating an intimate bond between users. Michelle Henning considers the increase in image circulation as indicative of positive new sociality, arguing that the dismissal of the value of photo sharing as idle chit-chat is a patriarchal response, a male fantasy in which capacities attributed or delegated to women become the raw material for a rationalization and commodification of emotion. The technical dimension of scale is returned to by Dvorák, arguing that measurement has always been the essence of photography through standardizing appearances, and what is needed now is an understanding of the transformation of scale in order to produce new equivalences, commensurate with the forces humans have unleashed. Andrew Fisher takes up a similar point that the machinic doesn't make the human obsolete to understanding photography but requires a reconfiguration of previously secured understandings of photography as a constellation of scaled relations.The three essays in part 2 consider visual remediation and forms of aesthetic resistance to digital transformation. Annabella Pollen alights on the use of de-accessioned art history slide libraries by artists to reexamine scale, pointing out that the global encyclopedic dream of mapping the visual is not new to digitization and that there has always been a photographic abyss, in which mindless noise, repetition, overpopulation, and promiscuity abound. Working against the triviality and multiplicity of the torrent of digital imagery, Michál Šimunek also considers the analogue, retro, antidigital aesthetic of the amateur practice of Lomographers as the ultimate photographic failure of the photograph. In contrast, the unique materiality of the digital file and its various instantiations on screens is considered by Josef Ledvina as a means of rescuing the image from excessive oblivion as well as a defining feature of a screen aesthetic.Part 3 considers scale in relationship to technological inscription beyond representational conceptions of photography. Parikka discusses new technological systems of visualization, combining computing, radar sensing, and lenticular technologies. Drawing on ScanLab's use of Lidar technology to map the city, Parikka argues that we should regard the image as an infrastructural interface. Lukáš Likavcan and Paul Heinicker consider the planet to be an autographic image, a photographic surface, registering the damaging and tragic effects of catastrophe of the Anthropocene, arguing that our notion of the photographic image needs to be scaled up to fit the genre of planetary autographic processes. Joanna Zylinska offers a parallel Anthropocenic conception of photography as undigital, as a technical assemblage that includes humans, creating new possibilities of an ethico-political artistic practice.The book concludes with an exchange of correspondence between Geoffrey Batchen and Joan Fontcuberta, in which they discuss issues of the massification of photography and the role of photographer. The exchange is of note but misplaced in the volume, primarily because it returns the debate about the future of photography to the conventional discourse and terms of art and art history, which inevitably emphasizes the continuity rather than transformation of photography, which the book set out to demonstrate. The combination of the discourse of photography, together with a reliance on examples drawn from art practice, tethers the book to a politics of aesthetics, which doesn't quite reach its goal of discussing the cultural politics of the mass image in terms of subjectivity, gender, sexualities, and, we might add, antiracism. What the book does achieve is to give critical perspective to the importance of the extraordinary changes taking place in technologies of visualization. In drawing our attention to the technologies involved in the exponential increase in the production and circulation of images and their operationalization in data systems, the book raises important concerns about a drive toward the automation of vision and culture.