Search results

This chapter highlights the value offered by photographic research methods to the study of organizational compassion. We demonstrate this potential by first briefly reviewing the history and usage of photographic research methods in the social sciences and the state of compassion research. We then describe how compassion emerged as a key theme in a field study that utilized photographic methods. From this, we identify four approaches that photographic research methods can be used to extend our understanding of compassion in organizations. Specifically, we clarify how this stream of research can be enhanced by the inclusion of photographic methods. We highlight critical research decisions and possible concerns in implementing photographic methods. The chapter concludes with additional organizational phenomena that would benefit from using a photographic methods approach.

The various methods gathered under the umbrella label of qualitative (Guba & Lincoln, 1994), defined as the study of “things in their natural settings, attempting to make sense of, or interpret, phenomena in terms of the meanings people bring to them” (Denzin & Lincoln, 2005, p. 3), offer many benefits through their ability to access, explore, and experience real organizational people and problems in rich detail (Van Maanen, 1979). As an example, photographic research methods—primarily qualitative methods through which researchers use photographs to elicit information during interviews and focus groups—often result in deep and nuanced data (Collier & Collier, 1986; Harper, 2005; Vince & Warren, 2012). Photographic methodologies are well-suited to the exploration of new phenomena because they allow researchers to get close to the lived experience and organizational processes (Dion, 2007), attend simultaneously to the social and material world in organizations (Shortt & Warren, 2012), and offer the potential to “mine deeper shafts into a different part of human consciousness than do words-alone interviews” (Harper, 2002, p. 23). Organizational research has traditionally been dominated by a positivistic paradigm that focuses on theory evaluation through the use of quantitative methodologies (Lin, 1998; Sutton, 1997), whereas qualitative research offers the potential to build theory by illuminating underlying processes and causal mechanisms in specific contexts (Lee, 1999). Researchers developing theory may be particularly interested in the richness of the data gathered with qualitative methods (Edmondson & McManus, 2007) such as photographic methods. Qualitative research is thus well-matched to nascent literatures that require inductive study about a phenomenon to generate foundational knowledge (Edmondson & McManus, 2007).

One such nascent research stream that could benefit from photographic methodologies is organizational compassion (Rynes, Bartunek, Dutton, & Margolis, 2012). In its current state, compassion research within the organizational literature has generated many narratives of experiences of compassion in response to a specific tragedy (Dutton, Worline, Frost, & Lilius, 2006), as an organizational capability (Lilius et al., 2011b), or as an organizational capacity that an organization can develop (Madden, Duchon, Madden, & Plowman, 2012). These stories demonstrate that the common elements of the compassion process are the noticing of someone else's pain, empathizing with that person, and then responding in a way designed to lessen that pain (Kanov et al., 2004); however, because this process is so individualized, photographic methodologies offer researchers a chance to capture valuable new information about this process and the experience of compassion within organizations. In this chapter, we describe many potential benefits of designing organizational compassion research based on photographic methodologies.

In doing so, we offer several contributions. First, we show how photographic methodologies can create deeper responses during interviews and observations that may lead to surprising insights for theory. Second, by suggesting some of the insights that have been generated about compassion through photographic methodologies, we offer novel research ideas for this growing body of literature. The following sections provide background on the development and history of photographic methodologies and review the studies and methodologies that have contributed to our understanding of compassion within organizations. Subsequently, we describe some of the ways in which compassion has surfaced during our own field study using photograph elicitation. Finally, we describe possible studies that could benefit from the use of four forms of photographic methodologies to explore more targeted research questions related to organizational compassion and also offer a range of other organizational phenomena that could benefit from a photographic methods approach.

Although fewer than 150 years have passed since Jacques Daguerre perfected the first photographic image in 1839, the flood of evolving equipment and applications has already generated a broad and richly varied field. Simultaneously one of the youngest arts and one of the newest technologies, photography is now used in medical research, space exploration, criminal investigations, agricultural production, design of industrial machinery, ad infinitum. At one extreme, it records family life and supplies the surest method of identification on drivers' licenses. At the other end of the spectrum, photography (once denounced in haute couture) has within the past five years not only become an “acceptable” art form, but has assumed centerstage in museums and exhibits throughout the United States and Europe.

Photographs are primary source documents that, like manuscripts and printed documents, carry layers of embedded information. As an example of a research strategy that can be used to study the time, place, and context of the development of early photographic businesses in America, a project to research and geo-reference the early photographic studios in New York City using information culled from imprints, census records, city directories, and other period sources is described. This case study example will focus on analyzing photographs and photographers operating in New York City and Brooklyn from the birth of popular photography in the 1840s to ca 1870s, and what researchers can learn about the development of the urban environments during this era. The study will provide an example of a research trajectory, brief background on the processes and early photographic business development, and note some of the research challenges that arise using historic photographs to study urban environments.

Recently a number of new photographic systems have been investigated with the object of replacing the conventional silver halide emulsions and as such could possibly represent the basis for further development of new methods of production for printed circuits. By using prepared combinations of metal and a light sensitive substance, e.g., arsenous sulphide/silver and cadmium iodide/tin, one can obtain directly a positive metal image. This approach by the authors was used for the development of a new direct positive photographic material for printed circuits which is easily processed and can be safely stored.

The purpose of this paper is to present a conceptual model for coding and dissemination of data associated with historical photographic archives. The model is based on Linked Open Data technology and seeks to exhaustively represent the most relevant characteristics for the tasks of contextualization of the documentary groupings and units, management, document retrieval, dissemination and sharing of data about the historical photographs.

An OWL ontology, called Ontophoto, was constructed following an adaptation of the methodology proposed by Uschold and Gruninger and Gruninger and Fox. The ontology was implemented using Protégé 5.5 software. Next a Graph DB® graph database application (Ontotext) was created to generate a query system based on the SPARQL language. To validate the consistency and effectiveness of the model and ontology, a competency questions methodology has been applied using a sample from the Skogler photographic archive.

The model facilitates the generation of systems for dissemination and retrieval of iconographic data for historical research, overcoming some of the limitations with respect to the design of methods of content and contextual information representation for heritage photographic archives.

This study is based on a sample. Future work should consider the implementation of the model on the totality of a photographic collection.

This paper presents a comprehensive ontological model that allows the creation of distributed systems of knowledge representation, which can be queried through SPARQL language.

This paper aims at demonstrating how the material approach questions conventional hierarchies of photographic value, showing a way to deal with large quantities of photographs accumulated by scientific and scholarly disciplines in their archives.

For generations, these photographs have been considered as pure documentations of the objects represented in them (from artworks in museums to snowflakes under a microscope). Documentary photographs have been understood as mere working tools that can now be easily replaced by digital duplicates. Overcoming the long-established reduction of photographs to their visual content, the material approach shifts attention to masses of anonymous photographs that are often disregarded within institutions because they do not match museum systems of value based on uniqueness and authorship.

Focussing on photographic and archival practices in art history, this paper aims at demonstrating how conceptual and methodological tools such as “agency” and “materiality” can be made fruitful for theory and practice of photo archives able to explore their epistemological potential. A case study from the Photothek of the Kunsthistorisches Institut in Florenz allows an insight into historical and contemporary dynamics and practices of photographic archives.

With its interwoven strands of archival practice and academic research, the Photothek unboxes itself as a laboratory for the international, cross-disciplinary debate on the role and function of photographs and photographic archives in scholarship, suggesting a methodological path for the entire field. In conclusion, the paper shows that the first necessary step for a long-term conservation of photo archives is promoting research on the photographic objects.

Photographic films and glass plates are widely used as phototools for PCB production. In this two‐part paper photographic and physical characteristics of the products are discussed as well as their differences and specific features. Terms such as contrast, density, speed, processing, etc. are explained and dimensional stability is discussed in depth. Suggestions are made for proper handling of the photographic materials.

Purpose – The purpose of this chapter is to review and categorize how photographs have been used in management research and to provide strategic management researchers with suggestions about how to use photographs to enhance their qualitative research methodologies.

Methodology/approach – We develop a typology of photographic uses in management research by reviewing several scholarly journals.

Findings – We identify two dimensions that differentiate how photographs have been used in management journals. First, photographs can be used to illustrate scenes from a field setting or they can be interpreted as data. Second, the role of field participants can be one of active collaboration or no involvement in the photographic aspect of the qualitative research project. For instance, field subjects can collaborate in research by aiding in the photo-documentation process and/or aiding in the photo-elicitation process. Choosing which of our four identified photographic approaches represents a critical decision for qualitative researchers interested in incorporating photographs in their research.

Practical implications – We suggest ideas for strategic management researchers related to use of photographs in their research. Also, we describe how specific strategic management research projects can be approached with photography, which we argue can lead to enhanced theoretical contributions.

Originality/value of paper – To date, little has been written in the strategic management field about the use of photography. This chapter provides a succinct review of photographic methods in management research. Moreover, this chapter provides suggestions for how strategy researchers, study participants, and interested readers of management research could benefit from incorporating photographs into research accounts.

This research demonstrates that the combination of two methodologies to describe photographs — Nobrade and Sepiades — together with the contextualization and identification of the content informational model of the photograph facilitates the reconstruction of institutional memory. This exploratory research based on case study adopted a set of metadata from Nobrade and Sepiades aiming at the organization and availability of the set of information extrinsic to the 20 portraits of the rectors of the Federal University of Pernambuco from 1946 to 1971. For the contextualization of this period, some of the events that occurred in Brazil were highlighted, as they influenced the academic environments during the Democratic Period and the Military Regime. The description of the photography was made in four parts: first part was called administrative dates resulting in the photo identification information; second part was the provenance data, that is, data about its origin and context; third part was composed of the technical data of the photograph; and fourth part was composed of the image data which contains information about the content of the photograph. The second and fourth parts using context and content information enable the photograph to be understood beyond what can be seen and contribute to the reconstruction of institutional memory. This research contributes to the elaboration of a documentary system using a combination of methodologies, focusing on photographs, not only as an institutional technical activity, but also as an activity necessary for the reconstruction of the institutional memory.

This paper seeks to report a project to investigate the degree of inter‐indexer consistency in the assignment of controlled vocabulary topical subject index terms to identical graphical images by different indexers at the National Library of Wales (NLW).

An experimental quantitative methodology was devised to investigate inter‐indexer consistency. Additionally, the project investigated the relationship, if any, between indexing exhaustivity and consistency, and the relationship, if any, between indexing consistency/exhaustivity and broad category of graphic format.

Inter‐indexer consistency in the assignment of topical subject index terms to graphic materials at the NLW was found to be generally low and highly variable. Inter‐indexer consistency fell within the range 10.8 per cent to 48.0 per cent. Indexing exhaustivity varied substantially from indexer to indexer, with a mean assignment of 3.8 terms by each indexer to each image, falling within the range 2.5 to 4.7 terms. The broad category of graphic format, whether photographic or non‐photographic, was found to have little influence on either inter‐indexer consistency or indexing exhaustivity. Indexing exhaustivity and inter‐indexer consistency exhibited a tendency toward a direct, positive relationship. The findings are necessarily limited as this is a small‐scale study within a single institution.

Previous consistency studies have almost exclusively investigated the indexing of print materials, with very little research published for non‐print media. With the literature also rich in discussion of the added complexities of subjectively representing the intellectual content of visual media, this study attempts to enrich existing knowledge on indexing consistency for graphic materials and to address a noticeable gap in information theory.