This essay delves into broad discussions around photography and place-making, with an emphasis on the photographs produced in the course of the A-Place project. As a starting point, the essay will introduce and discuss the intricate relationships between photography and place-making, establishing a historical timeline and contextual overview of pivotal moments. These contextual discussions serve as a foundation to subsequent discursive and visual analytical commentary on the photographs. In addition, the historical overview and contrasting views on place and ways of placemaking offer valuable points of reflection on how photography has become integrated into various projects, agendas, and modes of representing places. These reflections lead us to the present, a compelling period characterised by the interplay of various camera technologies and lens-based modes of representation which are in a constant state of visual flux and change, shaping our contemporary understandings and ways of perceiving the world. From the outset, I explore key ideas related to the invention of photography and how it quickly became integrated into the agenda of place representation and making. Subsequently, I engage in discussions concerning the notions of place and placemaking. The term “placemaking” is critically examined in the context of photographic imagery and practice, emphasising the intrinsic connection to the subjective processes of perception and understanding. This exploration highlights how photographic practices and imagery are utilised to probe the various dimensions of place which are rooted in memory, affect, and cultural perception. I posit that photographic practices are inherent to our daily lives and also part of an agenda of understanding places as means to placemaking. In this context, placemaking encompasses various facets related to the process of developing, consolidating, and asserting understandings of a place through and with photography. In other words, placemaking intersects with photography through pathways of knowing, experiencing, disseminating, and making places. These contextual discussions serve as a foundation for subsequent analysis and commentary on the A-Place archive of photographs. My focus is on a specific subset of images aiming to provide broader insights into particular aspects connected to the photographs, including their patterns, explorations, subject matter, approaches, and genres. Thus, the intention is not to critique every photograph but rather to present overarching critical reflections and discussions on a selected collection. I will begin by examining the relationship between photography, place representation, and placemaking processes.