This shift to computers is part of

This shift to computers is part of what has been argued elsewhere is a “computerization movement” (Meyer, “Framing”). Camera companies, therefore, devel-oped strategies to inscribe “knowledge programs” and incorporate them in almost every digital camera. Although the programs to set the right combination for shooting com-mon objects (portraits, landscapes, sports, etc.) were already incorporated in analogue cameras, the design of digital cameras took this logic further and also incorporated “sim-ulations” of former combination between processes and equipment (black and white, sepia, vignettes, “old photo” looks, etc.). The camera inscribes, using algorithmic com-puter routines, complex photographic processes that are transformed into choices that appear simple to the photographer. Thus, with the advent of digital technology, pho-tography users gained control over the process while new knowledge and economic and power connections were made with computer and technological companies. At the same time, new distribution-showing circuits were generated and are rapidly becoming key actors in creating photographic meaning