eBay is the world's largest auction site, with a variety of antique, vintage and one-off items listed. In-person shopping for these frequently takes place within markets and antiques fairs, underpinned by a rich set of co-browsing practices. However, these collective shopping experiences are poorly supported online, with platforms predominantly designed to accommodate and support an individual user experience. Using collective autoethnography (CAE) over a period of 15 months we engaged in a series of (16) online co-browsing sessions using a configuration of video-mediated communication to co-browse eBay together, augmenting the interface to introduce sociality. This was supplemented by 8hrs of field studies split over two in-person co-browsing sessions within physical retail locations. From these studies we draw together insights on the experiential nature and practices of co-browsing on and offline, presenting recommendations to inform the design of future online retail spaces, with an aim to support better collaboration and sociality.

This paper considers how parents use the social media platform Instagram to facilitate the capture, curation and sharing of 'family snapshots'. Our work draws upon established cross-disciplinary literature relating to film photography and the composition of family albums in order to establish whether social media has changed the way parents visually present their families. We conducted a qualitative visual analysis of a sample of 4,000 photographs collected from Instagram using hashtags relating to children and parenting. We show that the style and composition of snapshots featuring children remains fundamentally unchanged and continues to be dominated by rather bland and idealised images of the happy family and the cute child. In addition, we find that the frequent taking and sharing of photographs via Instagram has inevitably resulted in a more mundane visual catalogue of daily life. We note a tension in the desire to use social media as a means to evidence good parenting, while trying to effectively manage the social identity of the child and finally, we note the reluctance of parents to use their own snapshots to portray family tension or disharmony, but their willingness to use externally generated content for this purpose.