Year: 2015
Type: article
Abstract: 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.
Authors: Katharina Lobinger, Cornelia Brantner
Institutions: University of Bremen, University of Vienna
Language: English
Subfield: History
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: diamond
OpenAlex ID: W1821124238