Visual Methods and Methodologies

Abstract

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Visualising children’s participation in research: Lego Duplo, rainbows and clouds and moodboards

“…At its invention, photography was believed to be a conveyor of truth and objectivity, aligned with positivist theories which attributed it scientific qualities. However, such visual methods have since been critiqued due to their potential manipulation by specific regimes of knowledge in order to represent an extant 'truth' (such as political institutions creating specific social histories though the use of imagery whilst marginalising alternative historical viewpoints) (Crang, 2003(Crang, , 2009). This disenchantment with the visual has contributed to the continued hegemony of linguistic and numerical approaches within geography, despite the potential they offer within broader social science.…”

The Epistemological and Ethical Value of Autophotography for Mobilities Research in Transcultural Contexts

“…Autophotography expands the focus of visual research from visual artefacts to visuality: the network of "picturing practices" (Crang, 1997) that shape the production and reception of artefacts and give them meaning in particular contexts (Crang, 2010;Rose, 2007;Thomas, 2009). 3 This is an anti-objectivist epistemology of vision, where visual artefacts are less important as sources of knowledge than the practices of visuality that surround them, and more useful when examined in relation to this broader context. Autophotography generates a mix of visual artefacts and associated picturing practices by asking research subjects to produce photographs that relate to a specified object of inquiry and then provide verbal commentaries on them.…”

Urban Photography/Cultural Geography: Spaces, Objects, Events

“…In doing so, I am not looking to dismiss the enormous value of urban and street photography for other social scientific explorations of places that document, compare, explore, and tune into environments using the camera. The extensive use of photography by geographers has been well detailed by Ryan (; ), Rose (; ; ), M. Crang (), Schwartz and Ryan (), Markwell (), and Schwartz (). My specific focus sits within a vast field of photographic visual culture.…”

“…As well as incorporating auto‐photography and photo‐interviews into research methodologies (see Hall ; Rose ), photography is part of geography's recent groundswell of visual culture production and part of what Tolia‐Kelly (, p. 135) calls the “neo‐visual turn”. Instead of acting as commentators external to artistic processes, cultural geographers have begun engaging directly with creative arts practice and energising the discipline as a result (P. Crang ). In this way, photographs are not merely objects of analysis or illustrations, but form part of a research practice – “a mode of argument and creative performance” (Ryan , p. 236).…”