This article explores photography as both social and cultural passport into the image-based world of competitive ballroom dance. First differentiating between the social and cultural accesses facilitated by my photography, I then use specific images to explore the utility of photography in accessing, understanding, and representing the activity-based globalization of ballroom's aesthetic standards and practices across time, place, and context. [Key words: ballroom/ dancesport, ethnographic access, globalization, image-based culture, photography]

This paper identifies organizational challenges faced by Social Science and Humanities (SSH) scholars when dealing with digital data and media, and suggests improved file naming practices in order to maximize organization, making files easier to find, more useable, and more easily shared. We argue that such skills are not formally discussed in the literature and therefore many scholars do not recognize the problem until they cannot locate a specific file or are sharing files with colleagues. We asked SSH scholars to share their file naming strategies (or lack thereof) and we use these narrative anecdotes to discuss common problems and suggest possible solutions for their general file naming needs. IMPLICATIONS FOR PRACTICE 1. This article focuses on the crucial but often-overlooked role, and significance, of file naming practices in digital media research, storage, and archiving in the social sciences and humanities (SSH). We offer practical file naming solutions that librarians can introduce to SSH colleagues and scholars. 2. Narratives provided by SSH scholars detail their file naming inconsistencies, which lead to confusion, loss, or error. Librarians can address these issues and support scholars who find file naming challenging or are seeking new strategies. 3. Librarians can implement our suggestions to help SSH scholars develop their own file naming protocols so they can better find, retrieve, and share their data. These protocols can also serve as a foundation for creating data management plans increasingly required for federally funded grants.

Rooted in anthropologists' long‐standing roles as producers, users, and disseminators of images, this brief article takes the pulse of ethical considerations related to visual media in the discipline. Reflecting on the intent, content, and implications of the Society for Visual Anthropology–sponsored visual ethics discussion sessions at the 2007–9 American Anthropological Association meetings, we seek here to situate these events in the context of recent disciplinary engagements with image‐based responsibilities and to assess their relationship to comparable endeavors in allied fields. Our considerations come together in a discussion of why, how, and to whom visual ethics matter. Ultimately, we put forward a series of tentative proposals for the Society for Visual Anthropology's future navigation of these issues.

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