Visual Research Handbook

Compiled by Ingrid Carolina Ramรณn Parra

VISUAL RESEARCH HANDBOOK Methods and Praxis in social science research

VISUAL RESEARCH HANDBOOK, Spring 2015

CONTENTS

Why focus on the visual?

Key Terms and Concepts

Common Visual Research Methods

Visual Research Integrated Framework

Case Studies

Praxis: Organization and Management of Visual Materials

Naming Visual Files

Metadata

Computer Assisted Qualitative Data Analysis Software

Ethics in Visual Research

Resources by Topic

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“Without the camera you see the world one way, with it, you see the world another way.

Through the lens you are composing, dreaming even, with that reality, as if through the camera you are synthesizing who you are... So you make your own image, interpreting.

”

Graciela Iturbide (2005)

THIS HANDBOOK was compiled to provide an introduction to visual data in qualitative research.

The information in this handbook draws from a diverse range of materials including theoretical texts, visual research methods books, articles on methods and modes of visual analyses, and online resources. What makes this handbook particularly useful is an inclusion of not only theoretical and methodological aspects of visual research, but its strong attention to praxis. The use of visual research methods in qualitative research is becoming ever more commonplace, but visual data also poses practical challenges in data management, analysis, and ethical considerations. My goal in producing this handbook is to make central the challenges in visual research and provide some useful guidelines for anyone interested in adding a visual dimension to qualitative research. Everything presented here is less of a how-­‐to-­‐do visual research but more of a ways-­‐to-­‐do visual research. This ways-­‐to-­‐do approach is representative of the many ways in which one could approach the visual, and is meant to highlight the flexibility in visual research methods. However, in highlighting the diverse ways to do visual research, this handbook also acknowledges the practical dimension of visual data organization and management. Although the amount of visual data resulting from a qualitative research project can vary widely from just a few images to thousands of images or more, this handbook provides ways in which to organize visual data for a project of any size.

LINKS TO RESOURCES can be found throughout and are also included at the end of the document, organized by topic to guide the reader to information of interest. Scholarly texts and journal articles are also included in this list of resources, and as a result, the links to resources pages serve as a bibliography as well. This was a creative choice, as I felt compelled to organize resources and bibliographic references in a way that served gathering of information by topics of interest, and this meant moving away from conventional scholarly formatting. Diagrams and visuals that appear throughout are cited and authorship is attributed.

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WHY FOCUS ON THE VISUAL? A social researcher may want to incorporate the analysis of images into their research for a variety of reasons. One reason could be that images are ubiquitous in society and the consideration of visual representation can be potentially included in all studies of society.

Another reason to incorporate images in the creation or collection of data is that it might reveal some insight that is not accessible through other research methods. Visual research methodologies are distinctive, valuable, and should be considered by the social researcher whatever their project. Visual research methodologies do not supplant other methodologies, but should be seen as one methodological technique among many, more appropriate in some contexts than others (Banks 2007:4).

APPROACHES TO THE VISUAL Visual data are still or moving images that are either 1) pre-­‐existing images or 2) created images by researcher or participants. Pre-­‐existing images come from diverse sources and can include historical photographs or film, art images, portraits, advertisements, drawings, pictures of graffiti, architectural portraits, landscape images, etc. These are only a few examples and this list is not meant to be exhaustive. The second form of visual data include images taken by a researcher during fieldwork, images resulting from other qualitative research methods including photo elicitation or participatory image-­‐making, or even images taken by interlocutors throughout a research project. Banks (2007) argues that in approaching the study of the visual, there are three main points to consider:

+ The first concerns the analytical approach taken towards the image; + The second concerns the method employed to derive data for analysis; + The third concerns the kind of issue being analyzed.

There are a variety of methodological and analytical approaches that address the main points outlined above, and these often vary by discipline. Images can be made and presented in many different ways. Three of the more recognized models of working with and using images, photojournalism, art, and ethnography offer distinct approaches to thinking about and using images. The table below highlights differences in these models.

Photojournalism Art Ethnography

Hallmark is the timely and accurate illustration of current news and events.

Images are expected for and integral to any major news story today.

Represents the “nonutilitarian elaboration of a thing or act (Heider 2007:124).

Art invites and welcomes interpretation.

Ethnography uses images as both (a) a means of study (b) a means of (re)presentation.

Photography used heavily in anthropology, yet remained under theorized. Shift in social sciences welcomed the use of the visual, receiving more widespread appreciation in other social sciences.

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Photojournalism

Art

Popular forms of photojournalism include National Geographic and LIFE Magazine.

Artists make personal comments on life and society, and those whose use cameras choose to do so for a variety of reasons, including reproducibility, distribution, accuracy accessibility and expense.

Table created by drawing from Marion and Crowder (2013: 13-16).

Ethnography

A commitment to embedded research and the use of visual media as part of generating –not only then presenting-­‐ deeper and more nuanced research.

KEY TERMS AND CONCEPTS (Banks 2007) Visual research employs a large number of specialist terms, often terms in use in daily language but with a distinctive aspect in the social sciences. Popular terms are briefly described below.

Agency This term is commonly understood in the social sciences to mean the capacity of one person to act upon another, or to influence a set of social relations as a result of such action. Leading on from the idea that images, whether in their own right or as tools of human others, have agency, it therefore follows that images do ‘work’. This is summed up by Mitchell’s provocative question, ‘What do pictures really want?” (cited in Edwards 2001:18).

Data Used to indicate the objects of scholarly attention. From a positivist perspective the data are already “out there” waiting to be discovered. While from a more interpretivist perspective the data the data are brought into being through the process of inquiry. In visual research, data denotes the visual images and other things that are identified, created or reified by the processes of social research into objects that ban be manipulated, tabulated, compared one against another and so forth.

Documentary Associated with the films of British filmmaker John Grierson and his mission, from the late 1920s onwards, to ‘dramatize social issues and their implications in a meaningful way which would lead the citizen through the wilderness’ of social change and uncertainty, as Barnouw puts it (1983:85). A documentary film-­‐ or corpus of documentary photographs-­‐ is not merely a neutral document, but a representation of those things, persons, and events intended to explain society and its processes to its citizens. It is very important to note that sometimes the term is used casually to refer to all kinds of non-­‐fiction film, therefore, it is important to define the way in which the term is being used by the researcher.

Figure/Ground In descriptive assessments of images, the figure is the main subject (the subject of a portrait) and the ground is more or less everything else (the setting, things in the background like walls, windows, mountains, etc.). The terms are also used less literately to explore the relationship between things that appear to be significant and those that seem incidental.

Frame

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Two common uses: (a) the physical, material frame in which a picture is placed and (b) when looking through the viewfinder of a camera to frame a shot, or when considering the frame that another photographer selected for a shot. Frame also highlights what is not shown just beyond the frame of the image seen, and in a more metaphorical sense, what social factors influence the photographic frame selected.

Narrative Refer to the intentional organization of information apparently presented within an image or sequence of images. Also refers to the story told by these images. Narrative structures are established and understood by convention and are not innate or universal. Banks (2001) differentiates between internal and external narratives. Internal narrative refers to asking “what is this a picture of?” The external narrative is the story constructed by answering such questions as: who took this picture? When was it taken? Why was it taken?

Ocularcentrism Refers to the apparent privileging of vision above all other senses in contemporary Western society (and increasingly elsewhere). Vision is thought of as a way of knowing the world. Banks (2007) notes that in the social sciences and most other branches of academic study, there is a preference for the word over the image to present findings.

Reflexivity A reflexive approach in social research implies an awareness of the researcher’s own role in the research process. This can range from a minimal awareness of one’s own biases or subjectivities to a full autobiographical frame for research.

Representation This term dominates much writing on the visual. The key point, in the case of visual representation, is that the thing seen –the representation-­‐ is a thing in its own right, not merely a substitute for the thing unseen, the thing being represented. Chaplin notes that terms such as representation, picture, image, and so on are often used loosely in literature, and readers and researchers are advised to study the content within which the term is used in order to assess the meaning intended (Chaplin 1994:183).

COMMON VISUAL RESEARCH METHODS Photography +Photo elicitation +Documentation +Participatory Image Making

Video +Film Elicitation +Participatory Video +Documentation +Video Diary

Multimedia +Digital Story Telling +Blogs and Webpages +Interactive Websites + Mobile Phone Applications

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VISUAL RESEARCH INTEGRATED FRAMEWORK For those interested in an integrated overview of the wide variety of options and opportunities researchers have when considering the visual in the study of society and culture, I highly suggest a look at the ‘Integrated Framework for Visual Social Research (Pauwels 2010). I have produced an abbreviated at form of the Pauwels’ framework below, but the much more detailed version can be found in The SAGE Handbook of Visual Research Methods (Margolis and Pauwels 2011:5).

Abbreviated Integrated Framework for Visual Social Research, adapted from Pauwels (2010)

A. Origin and Nature of Visuals

B. Research Focus and Design

C. Format a nd Purpose

A.1. Origin/Production Context

A.2. Referent/Subject

A.3. Visual Medium/Technique

B.1. Analytical Focus

B.2. Theoretical Foundation

B.3. Methodological Issues

C.1. Output/Representational Format

C.2. Status of the Visual

C.3. Intended and Secondary Uses

+ Visual research methodologies should only be used as part of a more general ‘package’ of research methodologies and their use should be indicated by the research itself, not just because the researcher enjoys taking pictures +Photographs and film or video are used rather differently by researchers who adopt either an interpretivist approach or naturalist approach to the study of society; researchers should be

clear about their own theoretical orientation before picking up a camera. + Visual methods have been used in social anthropological and sociological research for many decades; researchers should try to see as many previous examples as possible-­‐ films, photographic essays, and the like-­‐ to familiarize themselves with the range of possibilities.

Banks (2007:17)

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CASE STUDIES Familiarizing yourself with ways other scholars have approached the visual is a good first step in learning about the visual research methods landscape. Below you will find a small group of recommended research articles that have approached the visual in different ways and in different disciplines. Many more exist outside of these suggestions, and additional perusal outside of these case studies is highly encouraged! All cases cited here are included as supplementary materials in a separate file folder.

To learn more about emerging forms of visual media in archaeology see Van Dyke (2006).

Photography and photo-­‐elicitation combine with alternative narratives of colonial history in Buckley (2013) article.

Visual field notes are another way to record field observations.

More on visual field notes in Hendrickson (2008).

For a view on how video has been used to inform development projects see Wickett (2007)

Mitchell (2006) uses children’s drawings as a visual research method.

To read about approaches to participatory content analysis see Sawhney (2012) chapter.

Zeller (2010) used video to assess grooming interactions in four species of primate.

Sawhney (2009) employed digital storytelling with youth in a Palestinian refugee camp.

For a review of ways scholars have looked at the materiality of historical photographs see Syper (2015).

Video diary as a visual research method is used in Edinburgh et al. (2013) study of runaway Hmong girls.

For a study on image iconicity and image reappropriation see Hubbert (2014)

Collaborative mobile phone filmmaking in London communities is discussed in Schleser (2012) chapter.

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PRAXIS: ORGANIZATION AND MANAGEMENT OF VISUAL MATERIALS If you have ever found yourself overwhelmed by the large quantities of digital pictures on your personal computer or mobile phone, then you might be able to understand just how important organization and storage is to the success of a visual research project. Any research project, visual or not, must employ a kind of organization scheme to organize collected data. For visual research projects, organization and storage are integral to the analysis of data and to the overall success of a project. While there are many ways to organize visual data, it is important for researchers to consider their options and make informed decisions based on the type of visual data collected and the goals of the project. This section of the handbook presents ideas on organization from perspectives of visual researchers, photographers, and filmmakers. Organized visual data allow researchers to search for files, to be efficient and accurate in their work, and to spend more time in the analytical parts of their research instead of being slowed down by data retrieval.

The few terms on the left are briefly defined to help +Database: any mechanism that allows clarify how these terms are used to approach you to gather descriptive information (e.g. organizing and working with digital files. spreadsheets, access databases, photo

and video editing catalogues, etc.

There are many ways to work with digital data, so each researcher needs to determine what meets +Backup: saving your work on a regular her needs. However, it is important that each basis researcher develop a process for organizing and +Program: photo or video editing software storing visual data. These processes of organizing +Image Treatment: the manipulation of and storage, however, require many steps. The images technical term workflow is derived from the software and publishing industries and describes a +Editing: the process of selecting and process and all of the steps needed to go from manipulating still or moving images concept to product. Workflow, then, is a process +Archiving: managing files for long term that is unique and developed by each individual. Not store and enduring accessibility all workflows are adequate for each project, and the Reilly (2013:98-­‐99) goal of a workflow is to develop a process and structure to organize your data in a consistent and

dependable. By systematically organizing data, workflow allows you to articulate a process that is the same way each time to ensure that you do not forget any steps that are important to organizing your data. Workflows can be simple and involve just a few steps, or they can be complex depending on organization needs. Developing a workflow requires that a researcher think of the type(s) of data collected, how to best organize this data, and spend time working with images and programs in order to understand through practice what workflow works best.

Developing a workflow is a process that does require time and dedication, but is a process that is highly valuable to the any visual researcher. Workflows are simple or very detailed, and everything in between. For example, an abridged version of Marion Crowder’s workflow is: copy, rename, image treatment, optimize, backup (2013:98). At each step, there are decisions and

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actions to take. The American Society of Media Photographers published the following workflow guide that includes workflow steps on the left and decision points at each stage of the workflow: These two examples of workflow are presented to highlight different ways to approach organization, one from a visual anthropologist and the other from a professional organization of photographer professionals.

In developing a workflow, it is important that the researcher also know which programs they have access to. For example, the workflow visual on the left mentions cataloguing programs like Lightroom, Bridge, Photoshop, which are all part of the Adobe Creative Suite program. If a researcher does not have access to these programs, then other programs must be considered. Part of the visual research practice demands that the researcher know http://www.dpbestflow.org/node/251 what programs and applications are available to them, and which ones meet their project needs. Developing a workflow is an iterative process that is informed by many factors, including data type, access to software programs, goals of the project, and protecting of project data.

NAMING VISUAL FILES File naming schemes are also extremely important to the organization of data. Reilly (2011) describes naming images as the most important step in the workflow process. However, haphazard naming of image files will not do, a naming scheme must be created to ensure systematic organization of all image data. There are many different naming schemes that a researcher can adopt, but important points is to (a) be consistent in naming conventions (b) keep it simple and (C) make a key for yourself to keep track of the symbols you are using and their meanings for clarity and verification. DPBestflow suggests the following parameters to

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develop unique names. Remember, that once you have developed a system it is important to standardize it and adhere to it.

DEVELOPING UNIQUE FILE NAMES +Include author name or initials as the beginning of the name string +The date of the photography session.

You can use year, month, day format +A sequence number, you can start with 00001. Just make sure you h ave enough accommodate the n umber of files. +You can also add symbols that corresponding with editing done on the image files. For example: a % sign in the file name means that this image was cropped. Or an & sign could mean that an image was color-­‐corrected.

(Russotti and Anderson 2010:126)

For social science researchers, it is important to remember that all images contain important data. Reilly (2011) advises that researchers not delete any pictures, but to organize and archive all pictures despite their image quality. Please consult the list of resources at the end of this document for a guide to further readings and resources into workflow and other best practices when dealing with visual materials.

METADATA Metadata are descriptors of digital files, whether audio, video, or photo. There are three types of metadata: 1. Technical metadata, which describes aspects of how the image/source file was generated.

2. Descriptive metadata, which describes the content of the object.

3. Administrative metadata, which d escribes the use, rights, and context of the file.

Reilly (2011:113)

Although photo-­‐cataloguing programs like Adobe Lightroom offer the opportunity to create tags and metadata for images, metadata formats do not allow for descriptive metadata that need

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more than a few tags. Therefore, it is suggested that researchers use a spreadsheet program like Microsoft Excel or LibreOffice Calc to organize their metadata. With metadata, it is important that researchers create a code key of their metadata schemes, and that researchers use if consistently throughout. Already existing metadata schemes can also be helpful. One of the most well-­‐known metadata schemes is Dublin Core. For ethnography, a popular set of codes can be found at the Human Relations Area Files (HRAF). For further reading on metadata and metadata schemes, please refer to the resources section at the end of this handbook.

The image reproduced on the left is from Marion and Crowder (2011: 114) and is a sample of a very simple metadata matrix.

Metadata spreadsheets can range from simple to very complex, but the more descriptive columns, the more data that a spreadsheet can capture.

COMPUTER ASSISTED QUALITATIVE DATA ANALYSIS SOFTWARE The term CAQDAS stand for Computer Assisted Qualitative Data Analysis Software, and refers to software packages that include tools designed to facilitate a qualitative approach to qualitative data. While many social science researchers may be familiar with software programs like Dedoose and NVivo in their analysis of textual data, many of these software programs also facilitate the analysis of image, video, and audio files. Several CAQDAS programs are used by visual researchers, although some programs are better suited for visual data than others. The graphic below highlights some popular CAQDAS packages:

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When choosing a CAQDAS package for your visual project, the following link is especially helpful: http://www.surrey.ac.uk/sociology/research/researchcentres/caqdas/support/choosing/ Ten CAQDAS packages are review by the Sociology Department at University of Surrey. Atlas.TI, MaxQDA, Transana, and NVivo are identified as the software packages most compatible with audiovisual data, although Transana appears to be the most positively reviewed package. Each researcher will have to ultimately decide which package works best for them.

ETHICS IN VISUAL RESEARCH Ethical considerations must be taken for any researcher incorporating visual dimensions to their project. In this section I make use of University of Surrey’s guide to ethics in visual research and Marion and Crowder’s (2013) framework for thinking about the ethics of still and moving images.

These guidelines are highly useful in thinking about ethical challenges as they apply specifically to participatory visual fieldwork.

After getting research approved and all permission in line, The University of Surrey suggest the following steps:

+ Draft consent forms give participants the opportunity to withdraw from project at any time inform participants where this data will be used let participants know who else will have access to the data give participants the opportunity to have their image distorted or removed give participants the opportunity to have their voice distorted or removed make sure that participants know what the project is about

+ Storing and collecting consent forms keep copies of the consent forms in paper and electronic form provide a copy to participants

+Dissemination and archiving audio-visual data At some point it is likely that most researchers will want to publish their findings and include some of the data to visually illustrate their analysis. They might produce still images or even short movies to put them online. These aspects need to be considered at the outset and incorporated into the consent form.

Even if data is archived, researcher needs to be able to provide raw data and consent forms. The consent forms should state that visual data will be archived. At the same time it is advised that you keep copies of your data on an external hard drive.

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Seven Key Issues in Visual Ethics Compiled from Marion and Crowder (2011:6-­‐7)

Representational authority

Decontextualization and circulation of images

Presumed versus actual outcomes of image display

Relations and responsibilities toward communities

Balancing privacy

Consent at every stage of the research process

Collection and dissemination of visual materials within a global digital context

Who controls the perspectives from which images are created? Should researchers get to decide how they depict those they work with? Should it be up to those represented in the image? What about interested audiences?

Once an image is created, (a) how and where does it get used, and (b) who has control over these decisions? If publically posted, what about outside parties who can now copy and disseminate images that could be personal, private, or even sacred? What about the fact that such further circulation and use of image be taken out of context?

Because images can be perceived differently by viewers, they can generate different outcomes than originally intended. Before using an image-­‐ whether as part of the research or in the reporting process-­‐ try to step away from how you think about and see an image. And ask how others could see the image.

Because we are working with human subjects we have responsibilities to them that must come first. It is important to remember that repercussions of research actions can last long after researchers leave the field.

Whether it is to protect confidential data, avoid embarrassment, or respect others’ sacred beliefs, the decisions researchers make about reporting research findings need to be informed by careful consideration and respect for the subjects’ wishes.

Make sure you have the informed consent of participants at all stages of the process, and that they get to have the last word on what images get published or not.

With internet access, people now can access a vast range of materials. The ever-­‐expanding awareness of and access to the internet may have significant repercussions that you must think about as part of conducting responsible research.

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RESOURCES BY TOPIC VISUAL THEORY AND METHODS

Banks, Marcus 2007 Using visual data in qualitative research. Sage.

Barnouw, Erik 1983 Documentary: a history of the non-fiction film. Oxford: Oxford University Press.

Chaplin, Elizabeth.

1994 Sociology and visual representation. London: Routledge.

Edwards, Elizabeth 2001 Raw histories: photographs, anthropology and museums. Berg, 2001.

Grimshaw, Anna 2001 The ethnographer's eye: Ways of seeing in anthropology. Cambridge University Press.

Gubrium, Aline, and Krista Harper 2013 Participatory visual and digital methods. Left Coast Press.

Marion, Jonathan S., and Jerome W. Crowder 2013 Visual research: a concise introduction to thinking visually. A&C Black.

Margolis, Eric, and Luc Pauwels, eds.

2011 The Sage handbook of visual research methods. Sage.

Mitchell, Claudia 2011 Doing visual research. Sage.

Pauwels, Luc 2010 Visual sociology reframed: An analytical synthesis and discussion of visual methods in social and cultural research." Sociological Methods & Research 38(4): 545-581.

CASE STUDIES

Buckley, Liam 2014 Photography and Photo-elicitation after colonialism. Cultural Anthropology 29(4): 720-743.

Dyke, Ruth M. 2006 Seeing the past: Visual media in archaeology." American Anthropologist 108(2) : 370-375.

Mitchell, Lisa M. 2006 Child Centered? Thinking Critically about children’s drawings as a visual research method. Visual Anthropology Review 22(1): 60-73.

Edinburgh, Laurel D., Carolyn M. Garcia, and Elizabeth M. Saewyc 2013 It's Called “Going Out to Play”: A Video Diary Study of Hmong Girls’ Perspectives on Running Away. Health care for women international 34(2):150168.

Hendrickson, Carol 2008 Visual field notes: Drawing insights in the Yucatan. Visual Anthropology Review 24(2): 117-132.

Hubbert, Jennifer

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2014

Appropriating Iconicity: Why Tank Man Still Matters. Visual Anthropology Review 30(2): 114-126.

Sawhney, Nitin 2009 Voices beyond walls: the role of digital storytelling for empowering marginalized youth in refugee camps. In Proceedings of the 8th International Conference on Interaction Design and Children, pp. 302-305. ACM. 2012 Making sense of participatory video: Approaches to participatory content analysis In Mitchell, Claudia, and Naydene de Lange (eds). Handbook of participatory video. AltaMira Press.

Schleser, Max R.C. 2012 Collaborative Mobile Phone Filmmaking InMitchell, Claudia, and Naydene de Lange (eds). Handbook of participatory video. AltaMira Press.

Spyer, Patricia 2001 Photography's framings and unframings: A review article. Comparative studies in society and history 43(1): 181-192.

Wickett, Elizabeth 2007 Visual anthropology and development: Video as critique, praxis and process.

Visual Anthropology Review 23(1): 69-75.

Zeller, Anne 1992 Grooming interactions over infants in four species of primate." Visual Anthropology 5(1): 63-86.

VISUAL ANALYSIS

Knoblauch, Hubert, Bernt Schnettler, Jürgen Raab, and Hans-Georg Soeffner.

2006 Video analysis. Methodology and methods. Qualitative audiovisual data analysis in sociology.

Knoblauch, Hubert, Alejandro Baer, Eric Laurier, Sabine Petschke, and Bernt Schnettler 2008 Visual analysis. New developments in the interpretative analysis of video and photography." In Forum Qualitative Sozialforschung/Forum: Qualitative Social Research, 9(3).

Schnettler, Bernt, Jürgen Raab, and Hans-Georg Soeffner.

2012 Video Analysis: Methodology and Methods in qualitative audiovisual data analysis in sociology. Frankfurt am Main: Peter Lang WORKFLOW

Digital File Formats http://www.jiscdigitalmedia.ac.uk/infokit/file_formats/digital-file-formats Digital Photography Best Practices and Workflow http://dpbestflow.org/node/309 DP Bestflow Video Editing Workflow http://www.dpbestflow.org/node/637

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DP Best Flow Metadata Overview http://www.dpbestflow.org/metadata METS Implementation Registry (list of projects using METS) http://www.loc.gov/standards/mets/mets-registry.html DCMI Metadata Basics http://dublincore.org/metadata-basics/ Metadata Landscape, State of Minnesota Powerpoint PDF http://dublincore.org/resources/training/The_Metadata_Landscape.pdf DCMI Usage Guide http://dublincore.org/documents/usageguide/index.shtml Metadata http://www.jiscdigitalmedia.ac.uk/infokit/metadata/metadata-home Putting Things in Order: a Directory of Metadata Schemas and Related Standards http://www.jiscdigitalmedia.ac.uk/guide/putting-things-in-order-links-to-metadata-schemas-andrelated-standards Controlling your vocabulary: a Directory of Metadata Vocaularies http://www.jiscdigitalmedia.ac.uk/guide/controlling-your-language-links-to-metadatavocabularies COMPUTER ASSISTED QUALITATIVE DATA ANALYSIS SOFTWARE (CAQDAS)

Choosing an appropriate CAQDAS Package http://www.surrey.ac.uk/sociology/research/researchcentres/caqdas/support/choosing/ Parmeggiani, Paolo 2008 Teaching different research methods through the use of video analysis software for media students: A case study." International journal of multiple research approaches 2(1): 94-104.

Rush, Craig 2012

"Transana Video Analysis Software as a Tool for Consultation: Applications to Improving PTA Meeting Leadership." Journal of Educational and Psychological Consultation 22, no. 4 (2012): 300-313.

DATABASE PROGRAMS

Feature Comparison: Libre Office - Microsoft Office

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Can a spreadsheet replace a database? http://www.makeuseof.com/tag/excel-vs-access-can-spreadsheet-replace-database/ Systems for managing Digital Media Collections

http://www.jiscdigitalmedia.ac.uk/guide/systems-for-managing-digital-media-collections/ TECHNICAL PRODUCTION

A Practical Guide for Microphones http://www.jiscdigitalmedia.ac.uk/infokit/guide-to-microphones/guide-to-microphones-home Video Production Toolkit http://www.jiscdigitalmedia.ac.uk/infokit/video-creation

COMMUNITY COLLECTIONS

Developing Community Collections http://www.jiscdigitalmedia.ac.uk/infokits/community_content/ Developing Community Collections: Route to Sustainability http://www.jiscdigitalmedia.ac.uk/infokits/community_content/guidance/routes-tosustainability.html Developing Community Collections: Models and Approaches http://www.jiscdigitalmedia.ac.uk/infokits/community_content/guidance/models-andapproaches.html ORGANIZATIONS OF INTEREST

American Society of Media Photographers http://asmp.org/links/24 METS Implementation Registry (list of projects using METS) http://www.loc.gov/standards/mets/mets-registry.html Dublin Core Metadata Initiative (DCMI) http://dublincore.org/

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