Katharina Lobinger

Zusammenfassung Mit der vernetzten Fotografie, also der Konvergenz aus digitaler Fotografie, mobiler Kommunikation und Social Media, ist das Teilen von Fotos heute selbst-verständlicher und zunehmend sichtbarer Teil der alltäglichen Kommunikation geworden. Der vorliegende Beitrag zeigt die Vielfalt an Photo-Sharing Praktiken auf. Dazu gibt er zunächst einen Überblick über die wissenschaftliche Auseinan-dersetzung mit Photo Sharing. Daran anschließend werden unterschiedliche Dimensionen, anhand derer sich Photo Sharing systematisieren lässt, vorgestellt: Anhand 1) des räumlichen Bezugs der am Prozess Beteiligten, 2) des Zeitbezugs, 3) des Umfangs des Publikums bzw. der AdressatInnen und 4) der Modi des Sharing. Der Beitrag schließt mit einer Reflexion der Implikationen für die aktuelle kommunikations-und medienwissenschaftliche Forschung.

Visual depictions of politicians play an essential role in the impression formation of the audience because they convey visual cues and attributes related to, for example, likeability or competence. This study examines the subjective audience evaluations based on the visual portrayals of a politician by using Q methodology, a qualitative–quantitative approach of audience research. Q-sorts of 33 different pictures showing a high-ranking European politician, along with personal interviews, were used to probe the audience’s perception of a
favorable or unfavorable picture. Q factor analysis yielded four groups of participants. The audience groups differ regarding their expectation toward favorably depicted political
behavior and the involved balance of professional political leadership competences, social competences, and personality. In addition, technical and formal representation strategies were
identified as important visual cues, but not for all audience groups.

The digitization of photography, the introduction of small, affordable photographic devices, and the seamless integration of photography into networked mobile communication have transformed photography into a ubiquitous and vernacular everyday activity (Hand, 2012; Rubinstein & Sluis, 2008). Visual self-representation is an integral and important part of current networked photographic practices (Autenrieth, 2011; Mendelson & Papacharissi, 2011; van Dijck, 2008), producing image types such as “one-arm-length shots,” “selfies,” or “ego shots.” Selfies and self-photographs are important elements with regard to identity work and the construction of authenticity in online environments. However, thus far photographic authenticity has mostly been examined in the journalistic context and thus in the field of professional photography. With this study, we want to address a research gap and focus on the subjective perceptions of authenticity in the field of vernacular photography. We use the concept of expressive authenticity that relates to the relationship between a person and his or her visual representation. Perceived expressive authenticity is achieved when people evaluate the visual representation as being true to the nature of the depicted person (Banks, 2013; Dutton, 2005). Using Q-methodology, we examine which compositional elements and visual representational strategies enhance or contradict the perceived authenticity of self-photographs and of selfies in particular.

Digital self-representations, for example selfies, are pervasive elements of current digital visual cultures. This paper centers on subjective audience perceptions of expressive authenticity in the field of vernacular self-photography. It reviews research into visual identity work on SNS and visual authenticity in the digital environment. Q methodology, a qualitative-quantitative approach to the study of subjectivity in human behavior, is applied to assess the perceived authenticity of self-representations. Therefore, Q-sorts of 33 different self-photographs were obtained from 29 participants and combined with open interviews in the tradition of visual elicitation. The study provides new insights into the perception of visual authenticity, as Q factor analysis yielded four groups of participants, who differ regarding their evaluation of the authenticity of self-photographs. The analysis reveals essential differences among the factors as regards the meaning of various features, for example, poses, visual styles, and photographic setting, for the authenticity of self-images.

Transformations of media technology bring about new communicative practices that challenge existing ethical and moral norms and demand for continuous renegotiations and reconfirmations of what is considered as responsible and appropriate. So far, the scientific discourse on visual ethics has mostly focused on visual research ethics and the ethical norms within professional fields of mass-media production, neglecting ethical and moral dimensions of mundane visual practices. The paper illustrates the necessity of a critical engagement with “ethical practices” in the field of visual everyday communication, using various areas of conflict regarding the production, distribution, and use of images (e.g. non-consensual photo sharing, reproduction of visual stereotypes in selfies) as starting points for the discussion. Overall, rather than providing normative guidelines for ethical visual behavior, the paper identifies multiple dimensions of ethical considerations and draws implication for future research.