In Infinite exchange: The social ontology of the photographic image in Philosophy of Photography (vol.1/ no.1) Peter Osborne refers to photography in its expanded (and still expanding) sense.

By this he means the historical totality of photographic forms, or types of images produced in one way or another by the inscription of light: predominantly, until recently, chemical photography, of course, but also film, television, video and now digital photography, as well as photocopying and scanning, and even microwave imaging, infra-red, ultra-violet and short-wave radio imagery. He adds that:

Given this historical diversity of technologies, there is no more reason to privilege the chemical basis of traditional photographic image-creation in the delimitation of the parameters of the concept of photography than there would be to constrict the parameters of ‘painting’ by the chemical composition of pigments used during the Renaissance. Photography, like art, is a historical concept, subject to the interacting developments of technologies and cultural forms (that is to say, forms of recognition); increasingly, developments within photography, along with digital-based image production more generally, are driving the historical development of art. This is so not just reactively, as was initially mainly the case in the second half of the nineteenth century and the first half of the twentieth century (in the transformation and internal retreat of other forms of representation), but affirmatively, in the use of photographic technologies to produce ‘art’ of a variety of kinds.