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Purpose – The purpose of this paper is to introduce the concept of social capital to the literature on academic libraries as it pertains to leadership and management as well as to demonstrate the limitations that the current discursive use of the phrase “buy in” represents. Design/methodology/approach – This paper brings critical insights from outside fields of intellectual inquiry, including business, knowledge management, computer and information systems, and sociology. The paper is organized around a series of questions posed at the end of the introduction and serves to introduce its audience to the key findings made in these fields as well as to apply relevant observations about social capital to the unique context of leadership and management in academic libraries. Findings – The paper elucidates a number of limitations to the current practice of using the phrase “buy in” as a way of exploring the concept of social capital. The most significant risk that the phrase’s use incurs is a lack of context and clarity around critical concepts of leadership, including trust, trustworthiness, and shared vision and meaning. Originality/value – This paper argues that a broader contextualization of “buy in” in the scholarship on social capital can lead to a richer dialog that allows academic library administrators to understand the concurrent and competing factors that accompany an exchange where “buy in” is given or withheld.

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This article pursues the varying understandings of the photograph in archival literature. An in-depth review of the scholarship uncovers several possible reasons why archivists and those writing about photographic archives apparently continue to struggle with the photograph, including: the sheer difficulty that photographs as an elusive medium present; past debates about photography in art history, history, and archival literature; and the challenges that the photograph as an evasive document presents to the contradictory nature of archives themselves and to conceptions of archival science. Having evolved from an understanding of photographs that conflated content with meaning to postmodernist notions of contingent and plural meanings in which photographs participate, archival writings on the photograph hold promise as they begin to tread the waters that Schwartz charted in the last 15 years. This paper follows that historical progression in order to trace the discourse on photographic archives that has emerged over the past three decades.