The notion of “generation” in photography is often reduced to stylistic difference or cultural stereotype. Yet more significantly, it marks a shift in the underlying logic of image-making. Photographers formed in analog conditions worked within scarcity, delay, and material limitation; those shaped by digital environments operate within immediacy, iteration, and circulation. Between these positions lies a transitional, hybrid mode. This essay examines these generational formations not as identities, but as distinct practices that structure how images are produced, valued, and understood.
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