ABSTRACT
In the first two chapters, I introduced the research questions and discussed theories of the market. I now turn to the empirical part of the stud). I began ~vith a prestudy (see Appendix B), based on which I decided to conceptualize the market for fashion photography as an associated production market (see Figure 2.1). The prevalent market theories, typically based on economic ideas, are objectivistic. That is, the
researcher ascribes meanings to the actors, and creates hypotheses to be tested empirically. Though theorists have studied how actors orient to other actors, they have rarely focused on how this actually happens. Rfy focus is precisely this orientation between actors. Because I seek a scientific explanation - which must be grounded in an understanding of the actors' perspective - I have developed an approach that can do so (see Appendix ,4). I argue that phenomenology is the approach through which I can best develop an explanation grounded in the actors' understanding. In Appendix A I present the history of phenomenology and its central traits, and a guide to conducting empirical phenomenology in sociology. So far few have taken this approach in the phenomenological tradition. The reader who is interested in a more complete understanding of the approach is strongly urged to read Appendix A (especially the latter parts on Schutz and on empirical sociology). Though the approach is an important part of the study, I have placed it in an appendix to avoid losing the focus on the market for fashion photography.
