Archives For photo elicitation

The past few weeks, my doctoral cohort has been studying the use of visual ethnography as a qualitative research method. This was in preparation for work on a project that utilizes photo elicitation interviews to explore our different ministry contexts. Photo elicitation is, most basically, the use of photographs in conducting a research interview (see Douglas Harper’s “Talking about pictures: a case for photo elicitation” in Visual Studies Journal, Vol. 17, No. 1, 2002). The method falls within the larger field of visual ethnography, which looks at images and symbols as cultural texts and “sites of cultural production,” to use Sara Pink’s language (Doing Visual Ethnography, 1). 

But more specifically, the kind of photo elicitation we were asked to engage in is more appropriately termed photo self-elicitation. Instead of producing or selecting photographs around which to conduct research interviews, we solicited submissions from people within our ministry context and asked them to submit to us photos that represent some aspect of our respective ministry contexts. Now, if you know me or have been following this blog for the past few months, you know that my ministry context has changed dramatically since I began this doctoral program a year ago. I no longer work for the mega-church that previously employed me. I’m now part of the support staff for George Fox Evangelical Seminary’s Doctor of Ministry programs. Yup, the same place where I’m working on my own doctorate.

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Researching Through Seeing

October 7, 2011 — 4 Comments

We’ve just started a mini-unit on visual ethnography in my doctoral coursework. I’ve got to say, it’s fascinating stuff. Ethnography is the study of people and culture. Visual ethnography is the study of people and culture through the collection, examination, and curation of images. The book we are discussing this week is Doing Visual Ethnography by Sarah Pink. In it she argues for a “reflexive” approach to visual ethnography as a research method within the social sciences (p. 5). In contrast to the expected researcher-subject objective distance, Pink leans into the post-modern philosophical turn which acknowledges the inherent subjectivity within any research method. So instead of pretending it doesn’t exist, she argues that ethnographers in general, and those using visual methods in particular, ought to recognize from the outset that they “are members of societies in which photography and video are already practised and understood in particular ways” (39). Continue Reading…