ABSTRACT
Chapter Six draws together the various arguments developed throughout the book to put forward a new model of photography and heritage – one that acknowledges the critical potentiality of the former in reshaping the latter. This is about more than simply taking different pictures; it is about working with the photography complex as a whole to understand how new forms of image production, exchange, and use might provoke positive change in heritage practice. Photography does not have a straightforward, unidirectional ‘impact’ on heritage. Instead, it must be understood as tightly interwoven with other modes of recording, communication, visualisation, and discourse. As a result, the frames established through and by photography are always contingent, permeable, and uncertain. The chapter concludes by calling for a more nuanced understanding of these processes, arguing that critical heritage practice may provide a useful framework for rethinking photography within heritage, and vice-versa.
