A critical anthology on the widespread use and influence of photography From its invention to the internet age, photography has been considered universal, pervasive, and omnipresent. This anthology of essays posits how the question of when photography came to be everywhere shapes our understanding of all manner of photographic media. Whether looking at a portrait image on the polished silver surface of the daguerreotype, or a viral image on the reflective glass of the smartphone, the experience of looking at photographs and thinking with photography is inseparable from the idea of ubiquity—that is, the apparent ability to be everywhere at once. While photography’s distribution across cultures today is undeniable, the insidious logics and pervasive myths that have governed its spread demand our critical attention, now more than ever. From its invention to the internet age, photography has been considered universal, pervasive, and omnipresent. This anthology of essays posits how the question of when photography came to be everywhere shapes our understanding of all manner of photographic media. Whether looking at a portrait image on the polished silver surface of the daguerreotype, or a viral image on the reflective glass of the smartphone, the experience of looking at photographs and thinking with photography is inseparable from the idea of ubiquity—that is, the apparent ability to be everywhere at once. While photography’s distribution across cultures today is undeniable, the insidious logics and pervasive myths that have governed its spread demand our critical attention, now more than ever. Introduction. Ubiquity Has a History Jacob W. Lewis and Kyle Parry Chapter 1. Early Photography’s Presence Jacob W. Lewis Chapter 2. Photographic Privilege at the World’s Columbian Exposition Annie Rudd Chapter 3. Material Ecologies in the Géniaux Brothers’ Picture Archive of Brittany, ca. 1900 Maura Coughlin Chapter 4. “Our Best Machines Are Made of Sunlight”: Photography and Technologies of Light Niharika Dinkar Chapter 5. Managing Time: Nonhuman Animal Labor in Photographic Images Joseph Moore Chapter 6. In 1973: Family Photography as Material, Affective History Mette Sandbye Chapter 7. Where Is My Photo? A Study of the Representation of Tehran in the Work of Contemporary Iranian Photographers Mohammadreza Mirzaei Chapter 8. Evidence of Feeling: Race, Police Violence, and the Limits of Documentation Catherine Zuromskis Chapter 9. On Photographic Ubiquity in the Age of Online Self-Imaging Derek Conrad Murray Chapter 10. Parafiction and the New Latent Image Kate Palmer Albers Chapter 11. Dispersal and Denial: Photographic Ubiquity and the Microbial Analogy Kyle Parry Chapter 12. That Liking Feeling: Mood, Emotion, and Social Media Photography Michelle Henning Chapter 13. “The Compass of Repair”: An Interview with Ariella Aïsha Azoulay Jacob W. Lewis & Kyle Parry Plates