Project Evaluation

The all-encompassing subject of my Visual Sociology project has been what John Prosser describes as ‘signs and symbols...signifiers of a culture.’

The signs and symbols in this case are material possessions, objects and their aesthetic attraction to the human eye through shared cultural language and values. this area of sociology is of particular interest to me since I have spent some years working within a retail setting, where the practical and psychological aspects of merchandising must be well understood in order to maximise sales. This does, however, raise the question of ethics and morality within sales techniques. while my photographs could not, and were never taken with the intention of answering questions regarding the ethical validity of capitalism, I believe that by isolating specific window displays from their shop and or street environments, they also isolate the ideas which are inherent in their construction, serving to illustrate the cultural symbols and signifiers with which the customer is ensnared into purchasing, from gender stereotypes to age and social class.

Due to a lack of photographic experience, unfortunately not all of my practical project is of the best visual standard, however I believe that they still adequately illustrate the merchandising construction. It could also be suggested that by removing any extra aesthetic ‘gloss’, the way in which the customer is drawn in using cultural signifiers and stereotypes becomes even more apparent.

All of my photographs were taken along the main shopping street of the orkney town of Kirkwall, giving the project a distinctly Highland cultural bias, although it could be argued that taking all of the photographs in such a small area does not provide enough evidence for a full examination of the ‘symbols and signifiers’ in what is a global occurrence. It does however, provide the sociologist and the viewer with the prospect of examining the signifiers within one single culture, one that is much more isolated in itself due to it’s location and which, arguably, is therefore less influenced by the values of other areas of the country. This could aid an examination of whether or not the particular cultural signifiers of an area are being consciously used to aid merchandising within the window displays.

Validity and Reliability

When carrying out a research project such as that on visual merchandising in Orkney, issues of reliability and validity must be examined, in order to make sure that the data collected has the correct level of appropriate-ness as evidence and, which can withstand examination through the complexity of human interaction.

Especially when considering personal, emotional responses to research data, certainly relevant in this case given the strictly visual nature of the data itself, the research question must allow for as unbiased a view as possible of that data. Excess imagery within the photographs which could skew an emotional response to the main aspect should also be avoided in some cases, which, in my opinion, includes my own research.

There must also be some form of justification for the particular type of research to be carried out, some academic ‘need’ as it were. In the case of my own personal research on visual merchandising, this is the large amount of interest which has been shown previously in the subject and also it’s importance both culturally and economically within society.

Again, the uncovering of emotional and or physically specific relationships within my research, for example, the photographs being from Kirkwall’s main shopping area, becomes especially relevant given that this data will be mainly analyzed by the viewer after the event, leaving much less room for preconceived cultural notions on the part of the researcher.

Method must also be considered and, while it may seem more reliable to use several types within my research, the constraints of a ‘visual’ sociology and also my own resources mean that that this is somewhat impossible. The use of a widely available, clear and yet non-technical digital camera should constitute a clear and unbiased approach to the presentation of my results however.

The Journalistic Image

The journalistic image and photojournalism as a whole must be discussed not only as an evidential tool for recording historical events, but also as a psychological and emotional ‘trigger’ for the lay person viewing it, giving the subject an extremely personal aspect, which can then quite obviously colour any personal response.

Therefore, just as Orla Cronin discovered in her review on photography’s use in a therapeutic setting, ‘realism’ and ‘documentation’ become extremely subjective words, since to suggest that a photograph can show the full contextual complexity of a situation, for example, the reasons behind a skirmish in the Arab-Israeli conflict, is somewhat absurd. A single photograph cannot capture the full truth of reality as it was in that instant and in this way proves the point that any sort of photography cannot provide us with a full historical narrative of an event.

What photojournalism does provide however, is important evidence, which, when supported by other, often textual evidence and therefore when viewed in full context, can further aid our understanding of the historical narrative. This is the ideal situation though and, while it would be preferable that the journalistic image be viewed in this way, it does not often hold true.

The journalistic image can never be described as unbiased evidence precisely because it is an only an evidential recording of events but also an emotional ‘trigger’, one which has been specifically aimed to create a response by the photographer and, is therefore coloured not only by the viewer’s personal opinions on anything from political affiliation to their gender and class, but also by the photographer’s and, this, ultimately, is how propaganda is created.

Sources Used:

Cronin, Orla., 2004. Psychology and Photographic Theory. In Prosser, John., 2004. Image-based Research: A Sourcebook for Qualitative Researchers. Oxon: Routledgefalmer. p69-96.

Becker, Howard S., 2004. Visual sociology, Documentary Photography and Photojournalism. In Prosser, John., 2004. Image-based Research: A Sourcebook for Qualitative Researchers. Oxon: Routledgefalmer. p84-96.

Image Based Rsearch Chapter 5 - Psychology and Photographic Theory

In her treatise on ‘Psychology and Photographic Theory’ Orla Cronin suggests that while the camera remains ‘a tool of the artistic and cultural elite with ‘practical uses in art and science’, it’s ‘democratization’ has led to a need for new analysis of the results of this accessibility; namely in family photography. this saw its greatest increase in the 1990’s and the study of this particular activity could lead to new psychological and sociological conclusions.

While the importance of such photographic data has only really been accepted recently and the studies of which are often a result of a ‘multiplicity’ of theories as, while photographs had already become an accepted tool in psychological therapy, however due to the lack of sociological research in the area, it cannot be described a ‘neutral’ tool. Cronin’s purpose therefore, is to critically review the assumptions and theories attached photography itself and its use as a therapeutic tool so as to suggest ‘possible directions and methodology for future research’

There are two ways of examining photographs for use in a therapeutic setting, firstly as sources of socio and economic evidence about a specific patient and secondly, as a ‘trigger’ for the release of emotion. Barthes (1980) claims these as two separate categories , as anyone can access and attempt to understand the information in a picture, however the emotional ‘trigger’ can be a highly personal response.

photographs are also important in therapy as evidence of specific ‘times’, as well as cultural and emotional themes and the need to record them in an ever changing modern reality. These then, become ‘triggers’ because they were once ‘real’, and may even protect against the loss of time for some. however, Cronin is not completely satisfied with this as it fails to examine the personal aspect of these stages of time which then affects their therapeutic use, for example, in the patient’s idea of ‘reality’.

Cronin’s review then goes on the examine the ‘lay’ perception of family photography, grounded in either the ‘realist folk myth’ or the ‘symbolist folk myth’. Again, the diagnostic use of such photographs as containing ‘real-time’ information when reviewed by the patient, is criticized. According to Silber (1973) the ‘symbolist folk myth’ suggests the photograph as unreal until interpreted, while O’Connell (1981) suggests that the ‘realist folk myth’ is the photograph as a direct representation of reality. Evidence suggests a propagation of the ‘realist’ myth amongst lay photographers, which risks accepting all photography as truth, however according to Cronin these theorists should concentrate on specific and personal use of the photographs, as individuals move freely between ‘myths’, rather than simply creating naive assumptions.

Family photographs are also used in a narrative context, whether collective or individual, but need further evidence to become real memory, again calling into question realism versus symbolism. Narrative photography is therefore aided by secondary evidence and knowledge of context.

Some therapists also use family photography to infer family dynamics, however it is also suggested that they are ‘selective’ and mask family problems, communicating an image of unity when the often occurring singling out of certain family members often defies this. Touching indicates both closeness and power, while the whole can signify cultural conventions.

Photographs are also used to challenge personal realities by some therapists, however this suggests that our personal histories are validated by photography, which Beloff (1985) describes as ‘idealised reality’ e.g. when asking the subject to smile, or can even become political and social when considering ideas of race, sex and class. Williamson (1984) therefore claims that too much is repressed by convention and that photographs are therefore only a construct of personal history.

Cronin, Orla., 2004. Psychology and Photographic Theory. In Prosser, John., 2004. Image-based Research: A Sourcebook for Qualitative Researchers. Oxon: Routledgefalmer. p69-96.

Childrens Clothes and Toy Shop, Orkney High Street

This very simple display seems to speak to both genders, mainly through simple product display and bright colours, obviously attractive to children of either sex.

Clothes and General Goods and Craft Shops on Orkney High Street

I have taken several photographs of the windows of these extablishments and brought them together as they concentrate on selling similar goods and in a similar fashion. The first windows show a highly feminine, almost sexualised display of manequin legs in a row, each covered in coloured tights and used to display women's jewellery, thus emphasising the gender specifics of the goods and perhaps suggesting the attractive, sexual properties of the jewellery itself. Definately a display aimed at women, but perhaps also men looking for gifts, since the mannequin legs could be deemed attractive to either sex.

The windows displaying both women's clothing and accessories again, unfortunately, suffer from reflective glare, however we can determine that colour coordination has been used to create an aesthetically pleasing display. The photograph of the model wearing the displayed clothing could be described as the idealised woman, attractive to the female gender in its respresentation of feminity.

The window encompassing children's toys and women's accessories and homeware is another example of clever display work. As children are not economically viable without their parents consent, the ladies shoes for example, ensure that both family members are attracted to all of the merchandise.

Men's Apparel Store, Orkney High Street

Again, an image very badly affected by reflective glare, however one of my only specifically male orientated images, mainly because it shows the display window of a men's apparel store. Again however, the main points are still visible. The display is simply and uncluttered, perhaps a response to the supposedly male need for order. The symmetrical display of similarly dressed mannequins, practically guarding the shoe display, emphasises this. Where the mannequins hands would be, sleeves are in the pockets, a very male stance.