Module 8
Research Methods

This module introduces learners to techniques in developing research and will inform not just for the foundation degree but also for higher awards should the student wish to progress further. The module introduced key research strategies in the context of photography or photo imaging education.
This will cover qualitative and quantitative research methodologies and their application whilst also introducing learners to key theoretical approaches, importance of ethical issues and consideration in project management and delivery.

Learning outcomes
Students will be able to:

Assess theoretical approaches to research
Discuss methodology and methods of research
Outline and report data analysis strategies
Identify and produce a research proposal

For this module you will study:

The nature of research
Tools and terminology of research
The mechanics of research - hypotheses, research questions,literature reviews
Data collection - primary and secondary research
Research methods - qualitative and quantitative
Plagiarism and ethics
Putting together a research proposal
Consideration of theoretical approaches to research methods
Techniques to review literature
Review of photography history as studied in module 7 Contextual studies
Key lectures on important historical photographs that develop a students detailed historical/contemporary subject knowledge.

My first foray into research on this course was empirical. I wanted to use film as well as digital. I believe that film is still relevant in the digital age and I began to learn the skills necessary to produce images which are a standard high enough to be submitted alongside digital images. I also wanted to experiment with different formats and materials.
Initially I will be using the facilities in college but ultimately my goal will be to set up a darkroom at home.

Black & White film work

I have been using a digital camera for many years now but now I have the opportunity to revisit film photography using darkroom facilities and expertise at college. My friend lent me a Mamiya C330 camera to use. With the advice of Richard I now have a film loaded and ready to play.

Mamiya C330

My first film

I am really pleased with the result and have decided to buy my own medium format camera. I like the feel of the images when compared to the clinical digital images. Have decided though to avoid a TLR because I kept forgetting that one lens does the work, you use the other for composition and then shift the camera up (or is it down) before taking the photograph. With an SLR or rangefinder it will be one less thing to think about.

I am now the proud owner of a Bronica ETRS bought from The Real Camera shop in Manchester. It looks mint and has a metering prism.

First film now processed and I have discovered that the metering prism is working correctly as all the images were exposed properly. Unfortunately I made the beginners error of not pushing the spindle far enough into the tank so there is a dark stripe across the edge of all the negatives. Thankfully as it was a test film I have not spoiled any important images.

I am really impressed with the resolution of the medium format film and I'm looking forward to more work with it.

The negatives were scanned but no other processing has been carried out at this stage apart from converting from tiff to jpeg for this blog.

A useful video showing how to retrieve a film from a 35mm cassette when it is fully wound inside.

I have been researching processing methods for black and white film. The following was a step by step guide I found during my research. Any tutorial which ends with "have fun" has my vote.

Step-By-Step Guide to Developing Black and White T-MAX Film

This tutorial will explain the process of developing T-MAX film as a simple step-by-step walkthrough. It’s a great introduction to understanding how film development works, and how you can improve your photography by giving the process a try!

I strongly suggest that reading through the developing process before trying it. Chemicals require specific times and it is difficult to keep track of everything if you are not prepared and somewhat familiar to the process.

I choose T-MAX 100 because it has a very fine grain and it is the black and white developing process that I have had the best results with. This is what fully developed dense negatives look like. If results differ we will cover fogged flawed or thin negatives at the end of this tutorial.

STEP 1: GATHER SUPPLIES

1-2 rolls of exposed T-MAX film
Developing tank
Can opener
Beaker or measuring cup
Thermometer
Scissors
Containers (for mixed chemicals)
Negative carrier
3 Containers for mixing chemicals

Chemicals:

Kodak T-MAX Developer
Stop Bath
Rapid fixer with hardening agent
Hypo Clearing Agent (HCA)
Photo Flo

STEP 2: LOAD, EXPOSE, UNLOAD THE CAMERA

It is important to remember the film is ISO 100 so make sure there is a strong light source for your photos. A tripod is recommended to take advantage of low shutter speeds. T-MAX is known to be unforgiving with incorrect exposure so bracketing is worthwhile.

STEP 3: MIXING THE CHEMICALS

Once the film has been exposed and the supplies have been gathered, it is time to mix the chemicals.

Start by mixing the developer at a ratio of one part developer for four parts water (1:4). It takes about 10oz of this mixture for each reel that will be developed. In most cases, two reels get developed at a time. Only mix as much developer the tank requires (don’t premix and store). Once T-MAX is diluted it is important to regulate the temperature at 72º.

Next, mix the stop bath. The stop bath should be diluted and stored in excess for later use. Mix with water at a ratio of 1:64. (stop ratio varies depending on the brand, it is recommended you second check the directions).

Fixer and Hypo Clearing Agent (HCA) should be mixed according to the package instructions. Powder fixers often come with the hardener included in one package. Other liquid fixers require mixing of 2 elements. Fixer can be reused so keep it in a sealed container. HCA can be reused, but because it is difficult to determine when it is getting weak, some photographers will discard it after it has been in the developing tank.

STEP 4: LIGHT PROOF A ROOM

Light-proofing a room is one of the steps that is easiest to make mistakes. There can be no visible light, not a red or amber safe-light. It is a good idea to start by bathroom or a laundry room with no windows. Use masking tape, foam weather stripping, towels or rags to block any light that may be spill into the work area.

Let your eyes adjust for a few minutes to be sure that there nothing visible. Remember to get all the cracks where light might get in. Both of these photos show a door with enough light getting through to fog your negatives. At first it would seem that the door on the right is light safe but once your eves adjust there is still a crack of light getting through.

Step 5: Open the Film Canister

Once you have found a light-safe a spot, get the developing tank, reels, film, a bottle opener and a pair of scissors.

Turn off all lights and use the can opener to pry the top off the film canister. (It is not a bad idea to make a second check for any sources of light before this step)

STEP 6: TAKE THE FILM OUT OF THE CANISTER

Touching the emulsion side of the film will affect the chemicals in the developing process, so try to remove the film without making any contact with the film itself. Holding only the plastic knob that sticks out of the canister, pull the film out of the canister. The film will unravel but try not to let it touch the ground.

STEP 7: EVEN OFF THE END OF THE FILM

Without touching the emulsion side of the film, use your thumb and forefinger to grip the film by the edges and feel toward the end of the film. The end of your film has no exposures on it, so it is safe to touch. Using your fingers as a guide, find your scissors and cut the ‘tongue’ off your film.

STEP 8: LOAD THE REEL

Once the film has an even end, it can be loaded on the reel. Take a reel and feed the first piece of film onto it. It may resist at first but once it passes the ball bearing it seems to pop onto the track. (Remember not to touch the emulsion in areas where the film was exposed).

Most plastic reels have a self feeding oscillating mechanism that allows the user to feed the film without touching the film. Rotate one side of the reel about 1/8th of a turn and return it to it’s original position, as this action is repeated the film will wind around the track without any significant problems.

STEP 9: CUT OFF THE PLASTIC END OF THE REEL

Toward the end of the reel, you will feel the plastic spindle that was used to pull the film out of the canister. It will find it’s way into your palms as you wind up your film. Take the scissors and cut this plastic spindle free and continue to load the rest of your film.

Do not pull the tape off the film, as it can cause a small amount of static that can fog your negatives. Once all your film is loaded onto reels place the reels inside your light safe tank and close it up. Be sure that it is secured and all reels are safely inside.

At this point it is safe to turn on the lights and clean up the canisters, lids spindle and discarded film that you have dropped.

STEP 10: BEFORE THE DEVELOPING PROCESS

There are a few techniques that should be covered before beginning the developing process. The quarter turn and tilt agitations are an essential part of developing T-MAX. The quarter turn inversions are used to make sure that all parts of the film get exposed to the chemicals (see the image below). These inversions should take about 1 second and will be repeated several times in the process, so practicing before you start the process is advised.

Because timing of chemical baths must be precise when developing film, it is important to have all your chemicals measured out ahead of time. When one chemical has been exposed to the film for the suggested time you should be able to pour it out and have it replaced within 10 seconds.

It is also important to remember that, while most developing tanks take about 20 fl. oz to cover reels, your tank may differ. Check the recommended volume of the tank before pouring chemicals. There is a guide on the bottom of most plastic developing tanks with the recommended amount of chemicals.

STEP 11: T-MAX DEVELOPER

When all of the chemicals are prepared and your film is loaded in the developing tank, you are ready to start the developing process. Pour enough water to fill your tank and let your negatives soak for 1 minute.

You should have already measured out the amount of developer that it takes to cover your reels. The developer should be maintained at 72° but if you are finding it difficult to do that the container has this chart. Pour out the water and pour in the T-MAX Developer.

Once your solution is poured agitate by giving your developing tank the quarter turn and tilt agitations shown in Step 10. Repeat this process 30 times in 30 seconds. Tap to the bottom of your tank, allow the tank to sit for 25 seconds. Agitate again for 5 seconds, tap the bottom again and allow to sit for 25 seconds.

This process of 5 inversions followed by 25 seconds of idleness should be repeated until the developer has had 6 1/2 to 7 minutes in the tank. Pour out and discard your developer.

STEP 12: STOP BATH

Pour in 20oz of stop bath and agitate with 1/4 turn inversions for 30 seconds. Pour out and discard.

STEP 13: FIXER

Pour in 20oz of fixer. Complete 3 1/2 to 8 minutes of cycles that consist of 15 one second inversions, 3 taps and 45 second rests. Once this step is complete you can open your light safe tank to observe your negatives. If your negatives appear purple and thick continue this process for another cycle and check again.

New fixer takes about 3 1/2 minutes, and as you recycle your fixer it will take up to 8 minutes to properly fix your negatives. Once your negatives are similar to the ones shown pour your fixer back into it’s container. If it takes more than 8 minutes for your negatives to clear up it is probably time for new fixer!

STEP 14: ONE MINUTE WASH

Refasten the lid to your tank and give your negatives a 60 second water wash, then discard the water.

STEP 15: HYPO

Use enough HCA to cover your reels. Follow by 1 full minute of full agitation (1 second 1/4 turn inversions). Hypo can be recycled, but it is difficult to tell when the mixture is getting weak.

STEP 16: FIVE MINUTE RUNNING WATER WASH

Give your negatives a 5 minute running water wash. Remove light safe lid and let water pour directly onto the reels.

STEP 17: PHOTO FLO

Toward the end of the water wash apply 2 drops of Photo Flo. Rotating your negatives in this solution helps to distribute the Photo Flo.

STEP 18: DRYING AND HARDENING

Remove the negatives from their reels and hang them in a clean dust free area. Do not touch the negatives with dry fingers, but wet your hands in Photo Flo solution and lightly run fingers along drying film to remove excess water. Negatives should be given at least 2 hours before you touch them again.

STEP 19: CUTTING AND ARCHIVING YOUR NEGATIVES

Once you have your negatives, you will probably want to put them into a archival sleeve whether you are using an enlarger to make a contact sheet and prints later, or you are just scanning them to a digital format.

I use Print File’s Contact proofing preserver because I like to store the contact sheet right on top of the negatives for easy proofing. You will probably cut after either every 5 frames or 6 frames depending on the negative preserver.

STEP 20: EXAMINE YOUR NEGATIVES

It helps if you have access to a light table here, but you can just as easily hold your negatives into any light source to examine them. A well developed negative has both areas that are fully thick but still has areas where the negative is completely transparent.

Thin negatives will result in very gray prints concentrated in the mid tone range, whereas overly thick negatives will result either in prints that are too light and lack detail or gray negatives that appear blurry and fogged.

Inspect the negatives for watermarks, scratches and dust. Scratches to the emulsion side of the film are very difficult to fix. Dust and watermarks are easily removed with an anti-static or micro-fiber cloth (be careful to use clean lintless fabric that is free of grit or dirt they will scratch your negatives).

WELL EXPOSED NEGATIVES

Here is an example of a well developed film. Notice there are areas where the film is comply transparent and there are areas where the negative is completely black. This will result in a print with a full tonal range.

THIN NEGATIVES

If your negatives are thin, you underexposed. If you have negatives similar to these you will end up having a print that is gray and muddy. In the printing process you can try to fix this with high contrast filters that but overall you will end up loosing a lot of the grayscale. There values look unnatural compared with that of a well exposed negative.

THICK NEGATIVES

If your negatives are too thick, you overexposed. While slightly overexposed images have higher contrast prints overall you will loose a few mid-tones. Overly thick negatives will give you a gray print, but unlike underexposed negatives there will be a lot more dark tones. If a negative is very thick, reciprocity failure becomes an issue (this negative is also slightly fogged).

UNDEVELOPED PORTIONS OF YOUR NEGATIVE

In this case your film came off the track when were loading the reels. It is rare to have this happen with plastic reels but if metal reels are used it is a more common mistake. If you continue to have these results try practicing with an exposed roll of film with the lights on.

FOGGED NEGATIVES

If the negatives were exposed to any source of light, it is visible in the areas of darker tones (where the negatives should be transparent). Indirect or reflected light that is a result of a poorly light-proofed room can be harder to detect.

Look at the edges of the negative. If you see patterns similar to those below it is possible that the room where the film was put onto the reels was not entirely lightproof. Fogged negatives will result in a loss of lighter tones and overall result in darker more muddy prints

HAVE FUN!

Though the idea of developing your own negatives certainly sounds a little daunting, it’s a great experiment to try and certainly gives you a better understand of how photography works. There’s a huge satisfaction to handling your own images from the initial shoot, through to a finished negative!

References

http://photo.tutsplus.com/tutorials/post-processing/step-by-step-guide-to-developing-black-and-white-t-max-film/

The successful tests on medium format (645) Bronica gave me confidence to research other film formats.

I bought an exposed but un developed 620 film from ebay primarily for the spool which I needed to use in an old box camera I had bought at a vintage fayre. I processed the film and found some interesting old garden and countryside photographs. These images are examples of what is legally known as "orphan" images as the owner cannot be traced.

Using the extra spool I rewound a 120 film onto a 620 spool using a large changing bag and watching a useful video on You Tube.
http://www.youtube.com/watch?v=nojQPkkafVo (shown as a link because the share address did not work)

two box cameras bought at a vintage fayre

photo taken using the Brownie 620 camera

I began to experiment with different types of film specifically the processing of colour film in black and white chemicals.
My interest was drawn to this because the text books and accepted advice was that it cannot be done. I bought a job lot of unused, out of date, colour 120 film rolls and set about my research and experiments.
Researching online I found conflicting advice about processing methods so I set about experimenting with processing methods. After trial and error I found that by soaking the film for 3mins in water at 30deg whilst preparing the developer, stop and fix (all at 30deg) prepared the film for processing. This soaking removed the anti aliasing layer from the surface of the negatives. I took the temperature from the official figures for colour film and the timings from an equivalent ISO black and white film. The resulting negatives were strongly tinted brown but retained a good level of detail. I scanned the negatives once dry and below is an image from the first successful film.

C41film processed in black and white chemicals

I joined a group on flickr devoted to this kind of processing and continue to tweak my methods to improve the results.

I have continued to use film in varying formats and have begun to produce printed images in the darkroom. These are for submission in the places module and are described in the places section of the blog.

Bibliography

Adams, A., 1980, The Camera, The Ansel Adams Photography Series 1. New York: Little Brown
Adams, A., 1980, The Negative, The Ansel Adams Photography Series 1. New York: Little Brown
Adams, A., 1980, The Print, The Ansel Adams Photography Series 1. New York: Little Brown
Tarrant, J., 1996, Larry Bartlett's Black & White Photographic Printing workshop. Kingston-upon-Thames: Fountain Press
McCandeless, D., 2009, Information is Beautiful. London: Collins
Peres M. R., 2007, The Focal Encyclopedia of Photography 4th Edition. Oxford: Focal Press

Exhibition visits:

Bradford - described in contextual studies

London -
National Gallery - was overwhelming and somewhat confusing. Rooms after rooms of paintings. I felt I did not know enough to work out where I was and where I wanted to go next.
National Portrait Gallery - specifically Taylor Wessing Photographic Portrait Prize. I found this exhibition very interesting and useful to study considering that we were just beginning the people brief. I looked at each photo making notes on what I liked, lighting/composition ideas and ideas for future photographs. My only disappointment was the choice of the winning image. I felt that it was not the strongest image (but what do I know)
Tate - By comparison to the National Gallery I loved the Tate and could have spent longer here. I will definitely go back. There were no specific highlights, I loved the atmosphere and the designers approach to the areas linking galleries. There were graffiti type signs and apparently random sketches on the walls between galleries. From a photographers point of view there was endless scope for photography.

Tate

British Museum - Grayson Perry exhibition. I have heard of Perry but not seen any of his work. I was fascinated by the combination of very skilful work and an irreverent attitude to the establishment.
The building itself was very interesting from wide open spaces to more traditional rooms like the room of enlightenment.

British Museum

Tennyson in The British Museum

My personal highlight

Ghosts in the Room of Enlightenment

Cork Street - a street full of small commercial galleries, some interesting some less so. The artist that caught my attention was Stanislav Plutenko who is a Russian artist who paints futuristic land/cityscapes which reminded me of books I read as a child.

Royal Academy - David Hockney exhibition. The exhibition of his enormous canvases was unfortunately put on in small crowded rooms, I found this frustrating because I wanted to stand and view them at a good distance to take in the whole picture but could not. The video installation on the other-hand was mesmerising, dancers moving from screen to screen, filmed by cameras at different angles.
I bought a print of Pearblossom Highway.

New York - International Center of Photography was the only exhibition I managed to visit in New York. My initial impression was that it was very small for such a prestigios sounding place. There was an exhibition of Weejee photographs which was very interesting. It showed his work and some of the processes his images went through before they were published.

Manchester - Whitworth Gallery - Idris Khan, The Devil's Wall, his installation based on the Hajj

During a gap in lectures Katy set us a task of approaching a group of people we do not know and taking photographs of them as they carry out their daily business.
She suggested old peoples homes. I decided to visit a local dog training session because I am a dog owner and so was confident that I might have something in common with the participants. I spoke to the trainer Shaun Raywood and he invited me to take photos at the class. I devised a model release form and filled my pockets with my contact cards and joined the class. I was welcomed warmly and everyone signed a model release form. They were all committed to their hobby and were enthusiastic when I told them the images would be able to be viewed on flickr and facebook.
My sessions have been so successful I now go every week and have been invited to photograph them when they compete in a show in June.
I have uploaded more photos than I would have done normally because I wanted to include every dog and their owner.
I now have a new group of friends.
I find these sessions very useful. I am honing my technical skills, focussing on fast moving dogs in changing light against a busy background is good practice for my wildlife work. I am getting practice on many types of portraits and am working on my photographs showing the relationship between the dogs and their owners.

The images are all uploaded here http://www.flickr.com/photos/tickhiller/collections/72157629866632845/

Some examples shown below:

Powerpoint Presentation

Research Proposal

How can an image be used to effect change?

Aims

I want to use the research to explore the way an image can be used to effect change. I will look at the type of image used, how it is used and where it is used.

The challenge is to uncover images that are both of the highest artistic merit and have the narrative power to provoke and disturb, but also to inspire.

Objectives

My objective will be to produce a set of images which could be used by a charity to support their efforts to effect change in a specific campaign

Rationale

I am going to explore what makes an image useful in an attempt to effect change.

In order to do this I have to have an understanding of images and how they are used to best effect.

The way an image is used can reinforce or undermine the purpose. For this I will look at the format of the image itself. Colour images can be brightly coloured positive pictures. Black and white can be used to portray dark, minimal desperate scenes. (McCullin photo below) The inclusion of the surrounding environment can add to the message or provide a distraction from the central subject (Alam photo shown below).

The individual elements of an image contribute to the whole picture. The apparent focus of the image may be a person for example but the background and other small objects shown will contribute to the overall power of the image. This makes it important to consider the image as a whole so there are not conflicting messages given by the elements of the image.

What type of images are used – Some charities use pictures of despair to provoke an emotional response from the viewer to obtain funding for their campaign. Other campaigns show photos of the work done by the charity, happy pictures to show what can be done if money is given.

Campaigns to get a practise stopped for example animal cruelty campaigns to raise funds for victims use completely different, sometimes very graphic types of images designed to shock and provoke outrage against the practice depicted.

Each campaign is designed to appeal to different sections of society. I will examine who is the intended target for the different type of images and different campaigns.

I will also explore why certain images are not used, fitting in with the agenda of the publisher. My recent research into photographs taken in Bangladesh found that agencies would only buy images of hunger and slums. Local photographers were taking photos of normal life, which were happy, positive images of the country but they were unable to sell them outside the country as they did not fit the agendas of the international agencies.

Conflicting political agendas can be found in the UK, an example is the county of Cornwall. Cornwall is portrayed as idyllic holiday destination but little is said about the serious social problems caused by it being the poorest county in the UK. The county cannot afford to put people off visiting the area because the majority of people’s incomes are generated through tourism.

Review of literature

Year 1 essay – photographing victims of war and natural disasters by foreign, highly paid photographers sent in by agencies to take photos and leave. Compared with the work of local photographers.

Photo agencies themselves, I will look at the different photography agencies publicity, websites etc.

An article on History Matters website provides a lot of information under the heading of Making Sense of Photos on documentary photography. This will be referred frequently during my research process.

Websites for further research

Review of photographers work in this area.

The first photographer to interest me in this area was Don McCullin. I went to an exhibition of his war work at the Imperial War Museum North. I found his war photographs impressive and liked how he was more interested in the capture of the moment than the technical aspect of the image. I realised that an effective image did not have to be technically correct. The image that held my attention and started my interest in this area was one from a set of images used in his campaign to help homeless people in London. The gaze from this face directly engages with the photographer and the viewer. McCullin spent time with these people and had sympathy for their predicament; his images show his empathy with them.

In my essay research I looked at the work of Shahidul Alam who is a Bangladeshi photographer who has photographed poverty and natural disasters in his own country but also uses his images to publicise local human rights issues. He photographs people with respect, allowing them to carry on without his interference.

My third example is not a photographer but an artist. Caravaggio used lighting in his paintings that is used by photographers today when shooting an intimate dramatic scene to draw the viewer in to engage with the subject. His subjects’ expressions leave no doubt as to their feelings. He picks out relevant details with light to bring the subjects to life from the canvas. This is practised in the studio today with careful placing of lights and reflectors. I do not envisage using the studio for my images but the general principle can be used in environmental photographs.

Methodology

Charity website images will be analysed and considered alongside their individual agendas. From this I will be able to determine the direction I want my body of work to take.

Interviews either by email or in person with representatives of charities to discuss their campaigns and use of photography to promote their cause. In order to do this I need to research and prepare a list of questions which will illicit the most productive answers. I will need to demonstrate my knowledge of their organisation so they will take me seriously and take the time to participate in the interview.

Market research will be a useful way of gauging the public responses to an image or set of images. The usefulness of the image will be undermined if the ordinary person in the street who has no prior knowledge of the subject does not see the intended message. It is too easy to research a subject, gain a lot of inside knowledge and leave vital clues out which are needed to understand the image and its context.

The way photographer engages with the subject is seen in the final image. Different photographers can take similar scenes, the empathy with the subject can be seen in the images from the photographers who have made the effort to engage and understand their subject.

The type of image to be taken in my body of work will determine what kind of equipment that I will use.

The use of a short lens on a DSLR will allow me to take intimate photographs whilst maintaining contact with the subject. The ability to immediately show the capture will reassure them that I have them photographed as I had requested and provide a point of conversation which could lead to further images. A long lens would take me away from my subject and could place a barrier to interaction.

Consideration of access issues and ethics

It is too easy for the photographer to concentrate on the technical, compositional and aesthetics of the image and forget that the subject is a human being with rights and sensibilities. Street photography contains candid images of homeless people and beggars. Just because someone is out on the street and an easy target does not mean they can be photographed without first gaining their consent.

If a photograph is to be used in a campaign model release forms may be required.

The same consideration should be given to those in greatest need after a natural disaster.

Predicted time allocation for stages of the project

I have assigned 7 months for this project, beginning in June and submitted in December 2012.

· June – research
· July – Image Capture
· August - Post Production/Review
· September – Image Capture
· October – Further research/Post Production
· November – Output
· December – Output

References

Online

Bibliography

Fox, A. and Caruana, N., 2012. Behind the Image, Research in Photography. Switzerland: Ava.
Harrison, M.,1998. Young Meteors, British photojournalism: 1957-1965. London: Cape
The Association of Photographers, 2003. Beyond the Lens. London: AOP Ltd.
Trachtenberg, A., 1980. Classic Essays on Photography. USA: Leete’s Island Books.
McCullin, D., 2003. Don McCullin. London: Cape.
Alam S., 2011, My Life as a Witness. Milan: Skira
Magnum, 2007. Magnum Photos. London: Thames & Hudson
Stepan, P., 2000, Photos that Changed The World. Munich: Prestel

Julia Rushton FDA Photographic Media

Pages

Research Methods