Photography as a social research method:
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Singapore
Springer
2018
|
| Ausgabe: | Corrected publication |
| Schlagworte: | |
| Online-Zugang: | Inhaltstext http://www.springer.com/ Inhaltsverzeichnis |
| Beschreibung: | xii, 167 Seiten Illustrationen 23.5 cm x 15.5 cm |
| ISBN: | 9789811072772 9811072779 |
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| 653 | |a Ethics in research photography | ||
| 653 | |a Photography as a social research method | ||
| 653 | |a Research photography | ||
| 653 | |a Research photography field guide | ||
| 653 | |a Research photography methods | ||
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Datensatz im Suchindex
| _version_ | 1805071668815593472 |
|---|---|
| adam_text |
Contents 1 Research Photography Is. 1.1 The Power of a Photograph. 1.2 Learning to See—What Does a Photograph Represent. 1.3 Photography and the Fold. 1.4 Selectively Unfolding Photographs—Image, Experience, Information . 1.5 Enfolding Experience and Information into Research Photographs. 1.6 Photography in Social Research. 1.7 Photo-Elicitation. 1.7.1 Participant Insights. 1.7.2 Research Relationships. 1.8 Photo-Elicitation Interviews. 1.8.1 Advantages of Photo-Elicitation Interviews. . . 1.8.2 Disadvantages of Photo-Elicitation Interviews. 1.9 Reflexive Photography. 1.9.1 Advantages of Reflexive Photography. 1.9.2 Disadvantages of Reflexive Photography. 1.10 Interview Viz (Visualisation-Assisted Photo-Elicitation).
1.10.1 Advantages of Interview Viz. 1.10.2 Disadvantages of Interview Viz. 1.11 PhotoVoice . 1.11.1 Advantages of PhotoVoice. 1.11.2 Disadvantages of Photo Voice. 1.12 Portraiture. 1.12.1 Advantages of Portraiture. 1.12.2 Disadvantages of Portraiture. 1.13 What About Researcher-Generated Photographs?. 1.14 A ‘Snapshot’ Approach to Researcher-Generated Photography. 1 1 3 4 5 6 6 7 7 8 9 10 10 11 12 12 13 13 13 14 15 16 18 19 20 21 22 ix
Contents 1.14.1 Advantages of the Snapshot Approach. 1.14.2 Limitations of the Snapshot Approach. 1.15 Combining Emic and Etic Approaches to Research Photography—Narrativesand Counter-Narratives. 1.16 Conclusion. References. 25 26 27 2 Photography as an Art-Based Research Method. 2.1 Photo-Narratives—A Storytelling Approach. 2.2 Sam Ferris" Daily Life in Sydney, Australia. 2.3 Moe Zoyari: Life After War in Afghanistan. 2.4 Joyce Torrefranca": Studying by the Lights of McDonald’s. 2.5 Documentary Photography—A Systematic Approach. 2.6 Rochelle Costi:: Quartos [Bedrooms]. 2.7 Brian Finke" Flight Attendants. 2.8 Portraiture—Constructing Identities. 2.9 Claudia Gaudelli:: Women Boxers in Argentina. 2.10 Rineke Dijkstra-: . 33 34 35 37 39 41 42 44 46 47 49 2.11 Tatsuo Suzuki: Tokyo Street Portraits. 52 2.12
Conclusion. References. 54 54 3 Ethical Considerations in Photography as a Research Method. 3.1 Ethical Considerations in Photography as aResearch Method . 3.2 Dignity: The Ethical Foundation of Photography. 3.3 Power Relationships. 3.4 Photo-Research with Vulnerable Groups. 3.5 Being ‘Vulnerable’. 3.6 Vulnerability in Research Photography—Contradictions of Representation. 63 3.7 Consent in Photographic Research. 3.7.1 Informed Consent. 3.7.2 Written Consent. 3.7.3 Audio/Visual Consent. 3.8 Consent at Collection and Consent at Re-Contact—an Approach to Informed Consent in Photo-Research. 3.9 Anonymity in Research Photography. 3.9.1 Anonymising Research Participants. 3.10 Anonymisation Techniques. 3.10.1 Pixilation,
Blurring and Face Bars. 3.10.2 Cropping Images. 3.11 The Ethical Dilemma of Anonymisation and the Ethics of Recognition. 72 3.12 Planning Anonymisation and Planning Identity. 57 57 58 60 62 63 23 24 65 65 66 67 67 69 70 70 71 71 73
Contents 3.12.1 Planning Anonymisation. 3.12.2 Intervention in Photo-Research. 3.12.3 The Ethics of Intervention . 3.12.4 Conclusion . Appendix 1. References. 4 xi 73 76 77 78 79 79 Research Photography in the Field. 85 4.1 The‘Exposure Triangle’of Photography. 85 4.1.1 Example: Crowded Trains . 87 4.2 Photographs as a Social Enabler andResearch Enabler. 89 4.3 Stigma and Consciousness. 92 4.3.1 Public Stigma. 92 4.3.2 Self-stigma . 93 4.3.3 Stigma and Research Photography . 93 4.4 Perceived Realities. 94 4.5 Max Weber’s Verstehen. 94 4.6
Verständnis. 95 4.6.1 Example 1: The Authentic Portrait. 98 4.6.2 Example 2: No Relations and Misleading Perceptions . 100 4.7 Conclusion. JOI References. 101 5 Photographic Analysis . 5.1 Content Analysis. 5.1.1 Quantitative Content Analysis. 5.1.2 Qualitative Content Analysis. 5.1.3 Photographic Content Analysis. 5.1.4 Qualitative Content Analysis Example. 5.1.5 Quantitative Content Analysis Example. 5.2 Thematic Analysis. 5.2.1 Photo-Thematic Analysis. 5.2.2 Photo-Thematic Analysis Example. 5.3 Semiotic Analysis. 5.3.1 Semiotic Analysis in Research Photography. 5.3.2 Semiotic Analysis Example. 5.4
Iconography/Iconology . 5.4.1 Iconographical/lconological Analysis in Research Photography. 117 5.4.2 Photographic Iconographical/Iconological Analysis Example. 118 5.5 Photo-Elicitation Analysis. 5.5.1 Photo-Elicitation Example. 103 103 J 04 105 106 107 109 110 111 Ill 113 113 114 115 120 122
xii Contents Interpretive Engagement Framework. 5.6.1 Interpretive Engagement Framework Example. 5.7 Positionality in Photographic Analysis. 5.8 Conclusion. References. 5.6 6 123 125 127 128 128 Publishing and Presenting Research Photographs. 133 6.1 The Publication Potential of Photographs—Telling a Story. 134 6.2 Single-Photo Narrative and Multiple Single-PhotoNarrative . 135 6.2.1 Single-Image Narrative Examples and Multiple Single-Image Narrative Example. 136 6.3 Photo-narrative. 139 6.3.1 Photo-narrative Example. 140 6.4 Conference Presentation and Publication. 146 6.4.1 Conference Presentation Figurative I and Figurative II Example. 147 6.5 (Representing Research Participants. 149 6.6 Copyright Protection of Photographs. 151 6.7 U.S. Copyright, Moral Rights and ‘Fair Use’. 152 6.7.1
Copyrights. 152 6.7.2 Moral Rights. 152 6.7.3 ‘Fair Use’. 153 6.8 Australian Copyright, Moral Rights and‘Fair Dealings’. 153 6.8.1 Copyrights. 153 6.8.2 Moral Rights. 154 6.8.3 ‘Fair Dealings’. 154 6.9 European Union Copyright, Moral Rights andFair Use (?). 155 6.9.1 Copyright. 155 6.9.2 Moral Rights. 155 6.9.3 Fair Use (?). 155 6.10 UK Copyright, Moral Rights and Fair Dealings. 156 6.10.1 Copyright. 156 6.10.2 Moral Rights. 156 6.11 ‘Exceptions to Copyright’. 157 6.12 Fair Use/Dealings in the Digital Environment. 157 6.13 Copyright in the Public Domain. 158 6.13.1
Expired Copyright. 158 6.13.2 Permission Granted‘A Priori’. 159 6.14 Conclusion. 162 References. 162 Erratum to: Photography as a Social Research Method. El Index 165 |
| adam_txt |
Contents 1 Research Photography Is. 1.1 The Power of a Photograph. 1.2 Learning to See—What Does a Photograph Represent. 1.3 Photography and the Fold. 1.4 Selectively Unfolding Photographs—Image, Experience, Information . 1.5 Enfolding Experience and Information into Research Photographs. 1.6 Photography in Social Research. 1.7 Photo-Elicitation. 1.7.1 Participant Insights. 1.7.2 Research Relationships. 1.8 Photo-Elicitation Interviews. 1.8.1 Advantages of Photo-Elicitation Interviews. . . 1.8.2 Disadvantages of Photo-Elicitation Interviews. 1.9 Reflexive Photography. 1.9.1 Advantages of Reflexive Photography. 1.9.2 Disadvantages of Reflexive Photography. 1.10 Interview Viz (Visualisation-Assisted Photo-Elicitation).
1.10.1 Advantages of Interview Viz. 1.10.2 Disadvantages of Interview Viz. 1.11 PhotoVoice . 1.11.1 Advantages of PhotoVoice. 1.11.2 Disadvantages of Photo Voice. 1.12 Portraiture. 1.12.1 Advantages of Portraiture. 1.12.2 Disadvantages of Portraiture. 1.13 What About Researcher-Generated Photographs?. 1.14 A ‘Snapshot’ Approach to Researcher-Generated Photography. 1 1 3 4 5 6 6 7 7 8 9 10 10 11 12 12 13 13 13 14 15 16 18 19 20 21 22 ix
Contents 1.14.1 Advantages of the Snapshot Approach. 1.14.2 Limitations of the Snapshot Approach. 1.15 Combining Emic and Etic Approaches to Research Photography—Narrativesand Counter-Narratives. 1.16 Conclusion. References. 25 26 27 2 Photography as an Art-Based Research Method. 2.1 Photo-Narratives—A Storytelling Approach. 2.2 Sam Ferris" Daily Life in Sydney, Australia. 2.3 Moe Zoyari: Life After War in Afghanistan. 2.4 Joyce Torrefranca": Studying by the Lights of McDonald’s. 2.5 Documentary Photography—A Systematic Approach. 2.6 Rochelle Costi:: Quartos [Bedrooms]. 2.7 Brian Finke" Flight Attendants. 2.8 Portraiture—Constructing Identities. 2.9 Claudia Gaudelli:: Women Boxers in Argentina. 2.10 Rineke Dijkstra-: . 33 34 35 37 39 41 42 44 46 47 49 2.11 Tatsuo Suzuki: Tokyo Street Portraits. 52 2.12
Conclusion. References. 54 54 3 Ethical Considerations in Photography as a Research Method. 3.1 Ethical Considerations in Photography as aResearch Method . 3.2 Dignity: The Ethical Foundation of Photography. 3.3 Power Relationships. 3.4 Photo-Research with Vulnerable Groups. 3.5 Being ‘Vulnerable’. 3.6 Vulnerability in Research Photography—Contradictions of Representation. 63 3.7 Consent in Photographic Research. 3.7.1 Informed Consent. 3.7.2 Written Consent. 3.7.3 Audio/Visual Consent. 3.8 Consent at Collection and Consent at Re-Contact—an Approach to Informed Consent in Photo-Research. 3.9 Anonymity in Research Photography. 3.9.1 Anonymising Research Participants. 3.10 Anonymisation Techniques. 3.10.1 Pixilation,
Blurring and Face Bars. 3.10.2 Cropping Images. 3.11 The Ethical Dilemma of Anonymisation and the Ethics of Recognition. 72 3.12 Planning Anonymisation and Planning Identity. 57 57 58 60 62 63 23 24 65 65 66 67 67 69 70 70 71 71 73
Contents 3.12.1 Planning Anonymisation. 3.12.2 Intervention in Photo-Research. 3.12.3 The Ethics of Intervention . 3.12.4 Conclusion . Appendix 1. References. 4 xi 73 76 77 78 79 79 Research Photography in the Field. 85 4.1 The‘Exposure Triangle’of Photography. 85 4.1.1 Example: Crowded Trains . 87 4.2 Photographs as a Social Enabler andResearch Enabler. 89 4.3 Stigma and Consciousness. 92 4.3.1 Public Stigma. 92 4.3.2 Self-stigma . 93 4.3.3 Stigma and Research Photography . 93 4.4 Perceived Realities. 94 4.5 Max Weber’s Verstehen. 94 4.6
Verständnis. 95 4.6.1 Example 1: The Authentic Portrait. 98 4.6.2 Example 2: No Relations and Misleading Perceptions . 100 4.7 Conclusion. JOI References. 101 5 Photographic Analysis . 5.1 Content Analysis. 5.1.1 Quantitative Content Analysis. 5.1.2 Qualitative Content Analysis. 5.1.3 Photographic Content Analysis. 5.1.4 Qualitative Content Analysis Example. 5.1.5 Quantitative Content Analysis Example. 5.2 Thematic Analysis. 5.2.1 Photo-Thematic Analysis. 5.2.2 Photo-Thematic Analysis Example. 5.3 Semiotic Analysis. 5.3.1 Semiotic Analysis in Research Photography. 5.3.2 Semiotic Analysis Example. 5.4
Iconography/Iconology . 5.4.1 Iconographical/lconological Analysis in Research Photography. 117 5.4.2 Photographic Iconographical/Iconological Analysis Example. 118 5.5 Photo-Elicitation Analysis. 5.5.1 Photo-Elicitation Example. 103 103 J 04 105 106 107 109 110 111 Ill 113 113 114 115 120 122
xii Contents Interpretive Engagement Framework. 5.6.1 Interpretive Engagement Framework Example. 5.7 Positionality in Photographic Analysis. 5.8 Conclusion. References. 5.6 6 123 125 127 128 128 Publishing and Presenting Research Photographs. 133 6.1 The Publication Potential of Photographs—Telling a Story. 134 6.2 Single-Photo Narrative and Multiple Single-PhotoNarrative . 135 6.2.1 Single-Image Narrative Examples and Multiple Single-Image Narrative Example. 136 6.3 Photo-narrative. 139 6.3.1 Photo-narrative Example. 140 6.4 Conference Presentation and Publication. 146 6.4.1 Conference Presentation Figurative I and Figurative II Example. 147 6.5 (Representing Research Participants. 149 6.6 Copyright Protection of Photographs. 151 6.7 U.S. Copyright, Moral Rights and ‘Fair Use’. 152 6.7.1
Copyrights. 152 6.7.2 Moral Rights. 152 6.7.3 ‘Fair Use’. 153 6.8 Australian Copyright, Moral Rights and‘Fair Dealings’. 153 6.8.1 Copyrights. 153 6.8.2 Moral Rights. 154 6.8.3 ‘Fair Dealings’. 154 6.9 European Union Copyright, Moral Rights andFair Use (?). 155 6.9.1 Copyright. 155 6.9.2 Moral Rights. 155 6.9.3 Fair Use (?). 155 6.10 UK Copyright, Moral Rights and Fair Dealings. 156 6.10.1 Copyright. 156 6.10.2 Moral Rights. 156 6.11 ‘Exceptions to Copyright’. 157 6.12 Fair Use/Dealings in the Digital Environment. 157 6.13 Copyright in the Public Domain. 158 6.13.1
Expired Copyright. 158 6.13.2 Permission Granted‘A Priori’. 159 6.14 Conclusion. 162 References. 162 Erratum to: Photography as a Social Research Method. El Index 165 |
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| index_date | 2024-07-03T23:39:29Z |
| indexdate | 2024-07-20T04:41:29Z |
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| publisher | Springer |
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| spelling | Langmann, Sten Verfasser (DE-588)1166339270 aut Photography as a social research method Sten Langmann, David Pick Corrected publication Singapore Springer 2018 xii, 167 Seiten Illustrationen 23.5 cm x 15.5 cm txt rdacontent n rdamedia nc rdacarrier Fotografie (DE-588)4045895-7 gnd rswk-swf Empirische Sozialforschung (DE-588)4014606-6 gnd rswk-swf Data Analysis research photography Ethics in research photography Photography as a social research method Research photography Research photography field guide Research photography methods Fotografie (DE-588)4045895-7 s Empirische Sozialforschung (DE-588)4014606-6 s DE-604 Pick, David Verfasser (DE-588)1166339475 aut Springer Malaysia Representative Office (DE-588)1065365012 pbl Erscheint auch als Online-Ausgabe 978-981-10-7279-6 (DE-604)BV044702590 X:MVB text/html http://deposit.dnb.de/cgi-bin/dokserv?id=2f7e5af78fb44fd49810d6ac6fb373a2&prov=M&dok_var=1&dok_ext=htm Inhaltstext X:MVB http://www.springer.com/ Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034985551&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p vlb 20171016 DE-101 https://d-nb.info/provenance/plan#vlb |
| spellingShingle | Langmann, Sten Pick, David Photography as a social research method Fotografie (DE-588)4045895-7 gnd Empirische Sozialforschung (DE-588)4014606-6 gnd |
| subject_GND | (DE-588)4045895-7 (DE-588)4014606-6 |
| title | Photography as a social research method |
| title_auth | Photography as a social research method |
| title_exact_search | Photography as a social research method |
| title_exact_search_txtP | Photography as a social research method |
| title_full | Photography as a social research method Sten Langmann, David Pick |
| title_fullStr | Photography as a social research method Sten Langmann, David Pick |
| title_full_unstemmed | Photography as a social research method Sten Langmann, David Pick |
| title_short | Photography as a social research method |
| title_sort | photography as a social research method |
| topic | Fotografie (DE-588)4045895-7 gnd Empirische Sozialforschung (DE-588)4014606-6 gnd |
| topic_facet | Fotografie Empirische Sozialforschung |
| url | http://deposit.dnb.de/cgi-bin/dokserv?id=2f7e5af78fb44fd49810d6ac6fb373a2&prov=M&dok_var=1&dok_ext=htm http://www.springer.com/ http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034985551&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT langmannsten photographyasasocialresearchmethod AT pickdavid photographyasasocialresearchmethod AT springermalaysiarepresentativeoffice photographyasasocialresearchmethod |