Solomon-Godeau’s introduction reflects on decades of thinking and writing about photography. She links her earlier concerns to more recent changes brought about by the luxury market for large-scale photography, the shift from analogue to digital, and the new relationships that shift has generated between photography, film, and new media. In turn, Solomon-Godeau argues, “there developed a conceptual reorientation of theoretical discourses addressing the nature, terms, and problematics of the image,” and yet she notes that the touchstone theorists for photo scholars have remained relatively unchanged. She describes her own contributions as “writing on photography [that] has been generally concerned with particular bodies of work, or particular photographers and exists in a difficult-to-define space between journalistic, academic, and polemical modes of description and analysis.” Solomon-Godeau explains why she remains concerned with the power of institutional structures (be they academic, scholarly, or museological) and why she remains committed to the continued relevance of feminism for thinking about visual culture.