Towards a methodology:
Quantitative parameters: As much as possible, there should be an image of every type of representative social character (preferably recorded in the style of the environmental portrait, which is as much as record of the subject's relationship to the environment as it is of the subject him or herself, and the relationship between the surveyer and the surveyed. A good environmental portrait makes a statement about these aspects and relationships. In addition to examples of social types, there should also be clear examples of the kind of social practices that define the area in the city, likely done in the candid genre of street photography. This sets the bar quite high in terms of the sheer amount of physical, in-person ethnographic engagement required of the researcher/photographer, and is both a visual proof-of-life as participant-observer, as well as a source of ethnographic data itself, as each picture is the result of social interaction, by definition. To truly document a neighborhood in all its conceivable parameters, there would likely be at least three to dozens of photohgraphs if experience is any guide.
Qualitative parameters: The "write-up", being based on the restrictions of the photographic typology of social characters and social types, still begs extensive textual explanation. One might explain, first of all, how/why certain social type were identified, while providing written explanations of some off the elements in the visual texts, explications of social interactions with and between human subjects in the pictures, as well as variations/multiplicity of social characters and practices that may differ enough that additional explication is needed. Additionally, the photographs themselves can provide non-verbal, direct explication of what a given urban landscape is really, socially like, in terms of the way is peopled, which is why photographs are important at all as visual data, as they can provide a direct experience of places -- its social valence -- in a way that verbiage is often inadequate to express, which has defined an ongoing epistemological problem ever since the written word, especially as it finds expression in the highly stylized, academic form that inevitably privileges a very narrow, positivistic way of conveying social knowledge.
The overall empirical logic: All qualitative, ethnographic research is inherently inductive and is but a small picture, a snapshot that is argued to be representative of a greater, whole reality. The analogue of street photography images in standard ethnographic practice is that of an ethnographer standing on a street corner counting the number of people sporting short haircuts from a significant distance. The traditional methodological analogue of a street fashion portrait in this new approach would be that of an ethnographer stopping each short haircut-sporting subject and asking them how they feel about their haircut and their motivations for getting it. This is the fine grain view, since there is significant social interaction involved to get to the taking of a street fashion portrait. By utilizing inter-dependent, multimedia and multi-modal angles of empirical inquiry that, taken in the aggregate, adequately conveys a complete, compelling, and consilient social picture of the subject/s being studied, which also utilizes different levels of interaction between the investigator and complete strangers, the overall effect can be that of a great deal of coherence between the various approaches and interactional techniques that result in a level of epistemological consilience, ethnographic coherence, and overall compellingness that is rare to find in the social sciences.
The "urban landscape" approach, broken down:
- a mix of the two most visceral, compelling, and data-rich forms of photography ethnographers can use: street photography and environmental portraiture
- overlapping, reinforcing streams of interaction -- photography, interviews, and some degree of quantitative analysis
An example of place data gleaned from two environmental portraits taken at the Dongdaemun Design Plaza in Seoul: