Open research data repositories are promoted as one of the cornerstones in the open research paradigm, promoting collaboration, interoperability, and largescale sharing and reuse. There is, however, a lack of research investigating what these sharing platforms actually share and a more critical interface analysis of the norms and practices embedded in this datafication of academic practice is needed. This article takes image data sharing in the humanities as a case study for investigating the possibilities and constraints in 5 open research data repositories. By analyzing the visual and textual content of the interface along with the technical means for metadata, the study shows how the platforms are differentiated in terms of signifiers of research paradigms, but that beneath the rhetoric of the interface, they are designed in a similar way, which does not correspond well with the image researchers' need for detailed metadata. Combined with the problem of copyright limitations, these data-sharing tools are simply not sophisticated enough when it comes to sharing and reusing images. The result also corresponds with previous research showing that these tools are used not so much for sharing research data, but more for promoting researcher personas.

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This article concerns the practice of making inscriptions in personal albums from the second half of the nineteenth century. The overall aim is to discuss the implications of this practice for interpretation and to investigate the cultural ideas and concepts embedded in it. The results are based on a close study of the heterogeneous collection of photo albums held at the Nordiska Museet (Nordic Museum), a museum of cultural history, in Sweden. Unlike personal photo albums produced after 1900, it is rare to find dates in personal carte-de-visite albums. Rather than a mere lack of data, this may indicate a different relationship between photography, time, and identity; pointing to a significant change in the vernacular uses and functions of photographs. The personal photo albums were conversation pieces that functioned better without text, as the images could prompt social contact in the form of inquiries and discussion. Later on, albums took on a character more reminiscent of a personal diary. The fact that so few privately circulated nineteenth-century portraits are dated indicates the relations between photographic portraits and painted portraits and furthermore it displays the similarities and differences between instrumental uses of portrait photography and private games of reading faces.This essay concerns the practice and possible implications of inscriptions in personal photo albums from the second half of the nineteenth century, which are discussed and analyzed with reference to contemporary official photo albums and personal albums of later date. The overall aim is to discuss the photo album as a medium and discern ideas and concepts that are embedded in this cultural practice.