To make, look at or use photographic images today is to be confronted by questions of scale that span geo-political, personal, machinic and aesthetic realms. Think of the millions of images now circulated daily and the personal and geo- political processes they serve to intertwine. Photographs have always taken on variously scaled values (whether hand-held polaroids, large-scale art prints or building sized projections) and have done so while de- and re-scaling the things they depict. Photographic images are made and reproduced using calibrated processes of scaling embedded in different camera formats and forms of software (manipulating aperture, focus and depth of field for example). Such scaling operations afford images their representational effects (establishing tonal and colour relations on a surface to give the sense of a substantial world). Photography, one might say, has always promised to set our worlds to scale while literally de-ranging the things and places it visualises. If the contemporary photographic image and its wider visual milieu are suffused with scaled values and scalar problems, this talk asks, might exploring how contemporary visual artworks use photographic images critically and in expanded contexts help us in understanding the problems and possibilities shaping our visual worlds?

Andrew Fisher is a Berlin-based researcher whose work focuses on the histories and theories of photography, related imaging technologies and visual art more broadly. He is a founding editor of the journal *Philosophy of Photography* (Intellect Publishers, 2010-present) and currently holds the post of research fellow at FAMU (the Department of Photography of the Academy of Performing Arts, Prague). Andrew has published widely on photography, its histories and theories, and visual culture more broadly. His recent research has centred on the significance of various discourses and operations of scale for our understanding of both historical and contemporary forms of imaging technology.