Involving and Sharing

Involving, Sharing, AnalysingPotential of the Participatory Photo
Interview
Bettina Kolb
Abstract: This article discusses the photo interview method used in a participatory inter- and
transdisciplinary research setting. The photo interview has proven particularly useful for
sustainability and environmental studies in which eliciting community points of view is crucial to the
research effort. Based on experiences in several countries, the author describes and analyses the
photo interview process and its three phasesinvolving, sharing and analysingand explores
potential influences on data quality. n the first phase, researchers use the photo interview method
to involve community residents from different levels of society in the research process. n the
second phase, the photo interview method encourages community residents and scientists to share
insights and perspectives and to partner in developing a common understanding of local structures,
processes, and possible solutions. n the third phase, the photo interview method allows
researchers to analyse visual and textual data as a representation of a local societal context. n
decoding images, researchers ground the analysis in sub!ective perspectives, use residents" visual
codes along with other methods to further analyse community data, and explore the wider societal
context in which the study is embedded.
Table of Contents
#. ntroduction
$. The %articipatory %hoto nterview
$.# &rigin of the photo interview
$.$ %hases of the photo interview
'. nvolving (espondents into a )cientific (esearch *ctivity
'.# %articipant engagement
'.$ nvolving disadvantaged groups
'.' (epresentatives for the community
+. )haring ,nowledge%roducing -ommon ,nowledge
+.# .ecoding visual information
+.$ )tarting the dialogue
+.' )haring a common realitya common learning process
+.+ /ew information on the photo
+.0 )tandpoint of the photographer
0. *nalysing %hoto nterview 1aterial
0.# mage production or involving participants
0.$ *udiencing the photo and sharing information
0.' The image itselfscientist"s reading
2. -onclusion
3 $445 67) http:88www.qualitative-research.net8fqs8
6orum 7ualitative )o9ialforschung 8 6orum: 7ualitative )ocial (esearch :))/ #+'5-02$;<
=olume >, /o. ', *rt. #$
)eptember $445
Key words: visual
sociology?
participatory photo
interview? involving
participants of
research? visual
data
FORUM: QUALITATIVE
SOCI AL RESEARCH
SOZIALFORSCHUNG
FQS >:'<, *rt. #$, Bettina ,olb: nvolving, )haring, *nalysing%otential of the %articipatory %hoto nterview
*c@nowledgements
(eferences
*uthor
-itation
1. Introdction
This article reflects on the use of the photo interview as a tool for inviting local
residents to participate in a scientific process within the framewor@ of inter- and
transdisciplinary research studies. The experiences of two multicultural studies
in six provinces in -hina and in five slamic communities of the 1editerranean
using the photo interview method are described These studies build on preceding
photo interview applications and provide insights for further development of the
method in inter- and transdisciplinary research settings
#
. *s these studies
illustrate, the photo interview method is useful for eliciting local perspectives on
daily life and involving local residents in a scientific research process. Asing the
photo interview, local cultural and social settings become visible as residents ta@e
photos that show their perspectives on the research question and their
experiences with and understandings of the local context. B#C
)A--D)) :)ustainable Asers -oncepts for -hina Dngaging )cientific
)cenarios< was an interdisciplinary study
$
in which a team of scientists from a
range of disciplinessociology, architecture, economics, and ecologyused a
case study methodology :E/, $44'< to develop sustainable future scenarios for
seven villages in six provinces :.A1(D-FD(, $445a<. )A--D)) sought to
answer the basic question: Ghat to maintain and what to change in the selected
villagesH %hoto interviews helped the team to explore local understandings of the
two questions and gauge potential support for the study
'
. Ased in combination
with participatory rural appraisal methods :%(*<, the photo interview method
provided local residents with an opportunity to #< reflect on the future of their
villages, $< generate data on village life from a social science perspective, and '<
introduce the daily life of rural -hinese communities into the research paradigm.
The method allowed villagers and researchers to raise and discuss local
problems and socio-economic and environmental challenges in a collaborative
way, bring out local perspectives on the potential future of the villages being
studied and envision future scenarios :.A1(D-FD( I ,&JB, $440<. %hoto
interviews allowed the sociological research team to analyse local conditions and
develop within the interdisciplinary team future scenarios that balanced respect
for human needs with respect for the needs of the environment.
# The inter- and transdisciplinary research settings approach was developed in the scientific
community of the national program of *ustrian Jandscape (esearch 8 ,J6Ksterreichische
,ulturlandschaftsforschung :BDLA)-F-%6D66D(,&(/, $44#<.
$ nterdisciplinary is seen as a scientific cooperation process between different academic
sub!ects.
' The transdisciplinary process is seen as an exchange of experiences and @nowledge between
scientific and non scientific persons and local sta@eholders :/-&J/, $44#<.
%hoto #: )A--D)) -hi 7iao, =( -hina 8 %hoto interview 4': =illage life B$C
F*11*1 :*spects and 1ultidisciplinary 1ethods of *nalysis for the
1editerranean (egion< is an intercultural, inter- and transdisciplinary study
designing future scenarios to save the hammam, the traditional slamic bath, as a
cultural heritage. The pro!ect analyses hammams in slamic neighbourhoods in
6e9 :1orocco<, -onstantine :*lgeria<, -airo :Dgypt<, .amascus :)yria<, *n@ara
:Tur@ey<, and %alestine :La9a< while meeting contemporary demands for sanitary
and convenient places to bathe and socialise :.A1(D-FD(, $445b<. Githin this
multidisciplinary study architects and historians, town planners and restoration
experts, social scientists and environmental experts focused on the hammams
with its complex urban and social relations and developed future scenarios that
balance the desire of modernisation with the needs of the environment. The
multicultural team of social scientists sought to answer the following question:
How does the hammam as a traditional bath house contribute to daily life in the
neighbourhood now, and what are its social functions for the neighbourhood?
-onducted in a range of slamic neighbourhoods, photo interviews provided the
members of the research team with a valuable introduction to social life and
values of local residents. Gith the study"s visual and interview data the ongoing
social functions of the hammam in these neighbourhoods were observed
:.A1(D-FD( I ,&JB, $445a<.
%hoto $: F*11*1, *n@ara, Tur@ey 8 %hoto interview 4': (oof of )hengMl Fammam B'C
n this article, explain the origin of the photo interview method and its develop-
ment over time. suggest three phases of the photo interview and explore their
contributions to the research process. n closing, provide examples of ways to
analyse the data generated through application of the photo interview method. B+C
!. The Participatory Photo Interview
The photo interview method invites participants to answer a research question by
ta@ing photos and explaining their photos to the researcher. &nce the photo
interview is completed, the photos and interview text are available as data for
further research and sociological interpretation using different methods of
scientific analysis. B0C
!.1 "rigin of the photo interview
(esearchers have used photos to elicit information in research settings for more
than 04 years. 6or several decades, however, photos used in research were
always ta@en by professional photographers or the researchers themselves. t is
the participatory aspect of the photo interview process, in which participants ta@e
the photos, that distinguishes the photo interview method from other research
approaches using photos. The method applied by the author and described in this
article builds on the wor@ of Alf GALLD/L, who used the photo interview
method in a participatory way as part of a larger sociological study of people"s
lifestyles :GALLD/L, #>>4<. n conducting a survey of people"s living rooms,
GALLD/L gave his respondents an NinstantN camera :N)ofortbild@ameraN<. Fe
as@ed them to ta@e photos of important ob!ects and artefacts in their living room
and interviewed them immediately after. GALLD/L called this photo interview
process N6otobefragungN and emphasised the active role of the respondents in
his research, in which the respondentsnot the researcherchose what to
photograph. n giving cameras to his research respondents, GALLD/L
introduced a new approach in social science research. GALLD/L"s approach,
however, built on previous research practice, in which anthropologists and
ethnographers used photographs to document and observe un@nown cultures
:1D*. I B*TD)&/, #>+$<. * first shift in the use of photos occurred when the
anthropologist Oohn -&JJD( :-&JJD( I -&JJD(, #>>#< used photos as
prompts in interviews intended to explore changes occurring in the lives and
environment of 6rench -anadians in the #>04s. 6or -&JJD("s study, a
professional photographer too@ pictures of local living situations, and interviewees
used the photos to introduce and explain their lives. -&JJD( found that using
photos as prompts helped to stimulate respondent communication and memory in
the interview situation. .ouglas F*(%D( introduced the use of photos in his
sociological study of material and fol@ culture entitled Nwor@ing @nowledgeN
:F*(%D(, #>5;<. F*(%D( began his study of a mechanic living and wor@ing in
a remote rural area by ta@ing photos of the mechanic as he wor@ed and recording
field notes. F*(%D( then discussed his photos with the mechanic in order to
understand his way of thin@ing and wor@ing. The photos were a useful tool for
studying the respondent"s social situation, perspective, and s@ills over time. NThe
goal of the research was to share Gillie"s perspective. t is a gradual and
incomplete process, now ten years long and not over yetN :F*(%D(, #>5;, p.#$<.
F*(%D("s study provides an important and meaningful example for visual
sociology. *s with the wor@ of Oohn -&JJD(, a ma!or difference between
F*(%D("s method and that employed by the author is the role of the participant.
6or both -&JJD( and F*(%D("s studies, interviewees reviewed photos ta@en
by professionals or researchers. Gith the participatory photo interview method,
however, respondents are both photographer and interviewee. B2C
1y own use of photos in research has refined over time. first used photo
interviews to document advertisements in public spaces when research
participants too@ photos of advertisements on billboards they li@ed or found
interesting. There studied participant"s reception and coding of photos :,&JB,
#>>'<. )econdly, when studying day-to-day approaches and personal concepts of
health gave cameras to my participants in order to document their orientations
towards personal concepts of illness and health. The results of the study showed
the broad range of health perspectivesfrom personal social networ@s, hospitals,
health care organisations, to nourishment, healthy products and addressing the
NforeignN language of medical science :,&JB, $44#<. nterestingly, the method
seemed to bring about a shift in some of my participants" personal orientations,
from a focus on illness to a focus on health. 1ore recently, as described under
the )A--D)) and F*11*1 studies, have used photo interview in a
participatory research setting, to give local residents a voice in a scientific
process. The participatory photo interview in these studies has been useful on
several levels, to #< support sustainability of the research, $< overcome the
complex challenge of resolving both natural and social science problems, '<
integrate local @nowledge in the scientific process, and +< activate local people to
participate in wor@ing towards a common future. The photo interview allows the
research discussion to start with real places and real experiences
:.A1(D-FD( I ,&JB, $442, $445b<. *t the same time, visual data prove
useful for envisioning and spea@ing about possible, desired futures. *s
participants NaudienceN :(&)D, $44;< their images for each other and for
researchers, they begin a cognitive process of developing and expressing their
ideas, feelings, and concerns. B;C
!.! Phases of the photo interview
Based on practical experience using the method in different cultural settings,
suggest that a common structure for an effective photo interview process with
four phases has emerged. n the first or opening phase, researchers invite photo
interview respondents to consider a general research question and consider how
to ta@e photos that reflect their viewpoint on the question. The opening phase
starts a cognitive process on the part of respondents as they reflect on the
influence or meaningfulness of the scientific question for their own life concepts
and experiences. n the second or active photo shooting phase, participants
implement their reflections by ta@ing photos of specific sub!ects in their social and
material surroundingsfor example, places, buildings, people, social networ@s or
local activities and businesses that relate to the research question and are
meaningful to them. n the third or decoding phase, participants consider their
photos and verbalise their thin@ing in an interview with a researcher and, when
desired or culturally appropriate, in collaboration with other participants also. The
final or analytical scientific interpretation phase involves researchers analysing
the dataphotos, interview transcripts, and observationsgenerated by the first
three phases of the photo interview. The following sections provide a more
detailed discussion of the photo interview"s phases. B5C
#. Involving $espondents into a Scientific $esearch Activity
The self-generated aspect of photos in participatory photo interviews has
important implications for photo production, photo topics, and other technical
aspects of photographs used in research on local conditions and perspectives.
%hoto interview allows residents to contribute their ideas and social constructs to
a research process in a deeper way than is possible with other methods of social
research. Asually in social research and also in qualitative methods researchers
are responsible for determining the research questions, but with the photo
interview, interviewees can establish or add new themes to the research
questions from their point of view. Thus, respondents play an active role in
designing the research effort as they interpret the research question and bring in
their ideas and their existing local @nowledge, e.g. about a region, neighbourhood
or village, into the scientific research process. %hoto interview respondents are
not Nresearch sub!ectsN but rather active participants as they consider the
research question and identify issues and topics of interest to themselves and
their community. (espondents become partners with social scientists as they as@
for explanations, feedbac@, and information. n turn, researchers have a
responsibility to recruit participants who are willing to ta@e an active role in
supporting the research by ta@ing photos and becoming engaged in a discussion
and reflection process that can ta@e several wee@s or longer. Dxperience shows
that a @ey factor in successful recruitment is to ta@e as long as needed to explain
and discuss the aims of research with potential participants in a detailed,
participatory manner. t is during the opening phase that participants decide to
commit to ta@ing an active role in the study. &ften participants want more
information about the study than may have been anticipatedfor example, they
want to @now the aim of the study, what to ta@e photos of, possible topics for
discussion, and the potential contributions of their ideas and efforts. &ften
participants as@ about how their own ideas can align with the proposed research
question and the aim of the research. B>C
The involvement process continues during the active photo shooting phase, when
participants begin to enter their social field and ta@e photos of their environment
without control or influence from the research team. .uring this phase, the
perspective of the outside research team moves to the bac@ground as
participants use cameras to capture their ideas and determine relevant issues
from their perspectives. n my experience, the technical aspect of ta@ing
photographs can be an important influence on participant willingness to commit to
ta@ing part in the research and promoting the research activity among other
residents and potential participants. )imple technical training related to ta@ing
photos is an important precondition to successful participation, as respondents
use the technical instrument of the camera to become observers of their
community and lives. The cultural setting is an important determinant in the type
of camera to use. 6or example, in a remote area li@e a village in rural -hina,
using disposable cameras are practical for participants who have limited
experience with modern technology. 6urther, the cost of these cameras is low,
and there is little harm if they are lost. n urban areas, however, respondents may
prefer to use personal digital cameras, and may own a camera already. B#4C
#.1 Participant engage%ent
.uring the active photo shooting phase, respondents continue to reflect on the
research question and often discuss it with family and friends. %articipants" tacit
knowledge
+
about an issue emerges as they go through a process of visualising
the issue and producing images. %hoto respondents often find this phase
empowering as they ma@e their perspectives explicit in their photos as they
engage in a very personal way in the research question, and thin@ about how it
matters in their lives and communities. %articipants often gain new insights into
their lives and reality as they reflect on their sub!ective situation from a different
point of view, through the lens of the camera. They become researchers of their
own culture, lives, homes, neighbourhoods, and villages as they ta@e photos for
the photo interview and spea@ about their photos in their own words. The process
appears to encourage participant ownership of the problem or question at hand
and initiate a process of role transformationfrom resident to advocate. .uring
the interview, when participants discuss their photos, their photo ta@ing strategies
and processes are often an important part of their narration and may reflect
participants sense of engagement and empowerment in the research process.
*lthough the use of the photo interview is not intended to be an empowerment
tool, it starts a process where people ta@e on a more active role in their social
+ n sustainability research tacit @nowledge is seen as non scientific @nowledge, added to
scientific @nowledge, valuable to find local solutions for sta@eholders :/-&J/, $44#<.
environment. 6or example, as related by a participant in a pro!ect to uncover local
views of health and illness: NThe poster was fascinating, it was so big and, as
told you, was really running after this posterN B/a das %la@at hat mich irgendwie
fas9iniert, weil das so schPn groQ war, wie g"sagt, und dem bin ich wir@lich
nachgelaufenNC :,&JB, $44#, photo interview 4$, p58$-'<. n this quotation the
research participant described the effort to ta@e the photo, while reflecting on the
motif of the photo. .uring the interview the activity of photo ta@ingthe active
photo shooting phasebecame part of the narration. B##C
#.! Involving disadvantaged grops
*n important advantage of the photo interview method is its ability to engage and
improve communication with participants from disadvantaged groups, particularly
the elderly, children, and those who are illiterate or have little education. 1utual
engagement by social scientists and local residents as they discuss participant
photographs results in a levelling of the power imbalance between researchers
and participants. To facilitate a levelling of the inherent power imbalance, it may
be useful to support elderly persons in the photo ta@ing process because of eye
maladies, as regarding an image can be a problematic issue for elderly. The
benefits are rich data as the elderly tell stories and give narrations. The opposite
challenge arises when wor@ing with children, who ta@e interesting photos, but do
not always spea@ at length about their selections. Ghen inspired to spea@, how-
ever, they may spea@ more openly about topics that adults may not feel comfort-
able tal@ing about, in part due to fear of action by government authorities. *n
example of a photo and narrative by a child, approximately #4 years old, follows.
%hoto ': F*11*1, .amascus, )yria 8 %hoto interview 4+: Fouse of a friend, who left the
neighbourhood B#$C
NThis is the house of my friend. *t the moment they left their house. They moved
into another house. don"t @now where, but thin@ over the :main< streetN :%hoto
interview 4+, p'8+-0<. The topic of a new street through the quarter was causing
feelings of fear to all residents of the neighbourhood within the F*11*1 neigh-
bourhood study in .amascus, but was addressed by participating children. B#'C
#.# $epresentatives for the co%%nity
&ften participants are well aware that they are acting as representatives for the
whole community. n order to engage the larger community, photo interview
pro!ects can serve as a starting point for a common learning process within the
whole community. &nce participants are introduced to the idea and process of
research, they are often interested in continuing to participate in the wider
research process, for example, !oining wor@shops that invite the whole
community to review and discuss data and information on local experiences,
values, and hopes produced through photo interview or participatory wor@shops
with residents. Gider participation of community residents begins when the active
photo-ta@ing phase is complete. t is in the outreach phase that the photo
interview intersects with the photo voice, a participatory needs-assessment
method developed by -aroline G*/L to engage local rural women in
determining local funding priorities for a new health care system in -hina.
N%hoto voice can be a tool to reach, inform, and organi9e community members,
enabling them to prioriti9e their concerns and discuss problems and solutions. %hoto
voice goes beyond the conventional role of needs assessment by inviting people to
become advocates for their own and their community"s well-beingN :G*/L I
BA((), #>>;, p.';'<. B#+C
*s with the photo interview, participants in photo voice ta@e an active part in a
study as photographers. 6or photo voice, G*/L and BA(() identify three
pro!ect phases: N)electing :choosing those photographs that most accurately
reflect the community"s needs and assets? contextualising :telling stories about
what photographs means<, and codifying :identifying those issues, themes or
theories that emergeN :G*/L I BA((), #>>;, p.'54<. B#0C
%articipation by the larger community is an important aspect of the photo
interview. 6or example, the )A--D)) study used the generated visual material
for community activities such as a public presentationN and exhibition :,&JB,
$44;< alongside findings from scientific observations and investigations, and
residents, sta@eholders, and scientists discussed together the participant-
generated and researcher-generated data. These and other types of outreach
and community involvement efforts support learning on several levels: they build
the individual capacity of villagers for example as they began to learn Dnglish,
and they developed their own local cultural activities e.g. preparing a welcome
ceremony for foreign researchers with dancing and drumming. The study of
)A--D)) was often the initial activity in the village and within the Nsmall
pro!ectsN villagers" capabilities were empowered to find local solutions for local
environmental problems or common desires :1*()-F*JD,, $445<. B#2C
&. Sharing KnowledgeProdcing Co%%on Knowledge
&.1 'ecoding visal infor%ation
The reception of photos and images is highly influenced by the local culture of a
society, which provides conventions for understanding how audiences decode an
image :D-&, #>>#, p.#>0<. )everal factorsthe contemporary visual culture, the
historical cultural experience of a society, and local cultural methods of decoding
images, as well as cultural capital :B&A(.DA, #>>#< and technological
developmentsinfluence local participant as well as research scientist
understandings of images and visual messages generated through photo
interview. 1embers of societies learn through their cultural socialisation to
understand and interpret visual information. This understanding enables
participants in transdisciplinary studies using the photo interview method to
decode images !ust as they do already with images in media, such as
newspapers or television, and feel that they are members in a common societal
communication process. (espondents in cultural settings as diverse as =ienna,
.amascus, -airo and -hina have been able to use their cultural @nowledge to
codein taking photosand decodenarratively in the interviewvisual images
during the photo interview. The current global capability to use visual information
is an important factor contributing to the use and value of the photo interview.
%hoto +: F*11*1, *n@ara, Tur@ey 8 %hoto Bettina ,&JB: (espondents discussing
photos B#;C
&.! Starting the dialoge
*fter the participatory phase of ta@ing the photo, the phase of decoding the visual
information begins. %articipants ta@e on an expert role in this phase as they
describe their photos and initiate a dialogue between respondent and researcher.
The photo influences the interview situation as an impulse to spea@: for the set-
ting of the photo interview, the photo is a helpful tool to motivate the respondents
to participate in the interview :GALLD/L, #>>4<. The decoding phase opens up
a new level of engagement between respondents and researcher. %articipants
describe their photos in their own words, in a non scientific language and the
researcher encourages them to spea@ about their personal values. This phase
establishes dialogue and trust, and the researcher encourages participants to
argue for their viewpoint. deally, the photo interview promotes mutual learning by
both scientists and residents in a conversation between equals. .uring this phase
respondents introduce the researcher to their world through their photos and give
their verbal explanations of the images :,&JB, $44;<. Thus the photo interview is
an important moment of interpretation and understanding, when the respondent
explains and ma@es explicit his or her intention in capturing the image and
recounts a first interpretation of it. t is not always possible to discuss all photos
ta@en by a respondent. recommend that respondents ta@e responsibility for
selecting which photos to discuss in the interview, as this allows them to frame
the situation, determine the order of topics to be discussed, and feel valued for
their wor@. The photos thematically guide the interview. The researcher should
encourage respondents to spea@ freely about their photos and encourage
storytelling of an episodic nature :,&JB, $44#<. To complete his or her
understanding, the researcher should as@ questions. )ometimes photos are
discussed with a group of participants or with several interview partners. The
conversation permits scientists and participants to build a common @nowledge
about the research questions and the situation being shown in the photos. This
common @nowledge includes both scientists and local resident-experts, thus
embedding the research results in a civil society process that may improve
implementation and sustainability of any potential solutions or actions suggested
by the research. Thus the photo interview is well suited to fit within a sustainability
and environmental research and development endeavour. B#5C
&.# Sharing a co%%on realitya co%%on learning process
%articipating in a photo interview starts a communication and learning process
and an exchange of @nowledge. .iscussing the visual material in the photo
interview creates a new role for the interviewee, as he or she shares expertise
about the life or environmental situation of interest to the researcher. The photo
interview discussion ma@es dialogue between researcher and respondents more
NsymmetricalN, an important characteristic of the photo interview :GALLD/L,
#>>4, p.##$<. (esearchers learn from respondents and photo interview
participants ta@e on the role of experts as they appraise their lives and
communities. n such a research process, the researcher needs to be open for
new insights that he or she did not expect. The following photo is an example of
an unexpected topic in the hammam case study in 6e9. The photo shows a place
hardly seen by tourists and researchers, but shown and discussed during several
photo interviews: the location where garbage is dumped in the river bed. n a hot
climate li@e 6e9, the garbage rots quic@ly and the smell is strong? residents
complained about this problem and wanted to solve it.
%hoto 0: F*11*1, 6e9, 1orocco 8 %hoto interview 4#: Larbage in the river bed B#>C
%hoto interviews in the F*11*1 study often raised the question of waste
management especially when considering the future of the hammam? thus, the
pro!ect consortium had to consider this matter within their future scenarios for the
hammam neighbourhood. Before studying in the hammams neighbourhood with
photo interview, researchers had not anticipated discussing environmental and
waste management in the town. The visual representation of the community
provided by respondents provided an opportunity for scientists to loo@ through the
lens of respondents and learn about residents" day-to-day issues, and their local
qualities and potentials. Githin a framewor@ of transdisciplinary research, when
scientists wor@ together with sta@eholders or governments, the photo interview
can bridge the gap between non-scientific and scientific persons, between
governmental experts and non-governmental local residents. B$4C
&.& (ew infor%ation on the photo
=aluable features of a photo are its ability to balance the power dynamic between
respondents and researchers and introduce new topics as respondents and
researchers examine the photo intensively together. /ew information and new
aspects of the photo emerge and become visible, for the photographer as well as
the researcher :GALLD/L, #>>4, p.##$<. By loo@ing at the photograph very
carefully during this phase, new details appear that were not noticed or ta@en into
account by the photographer in the moment of shooting the photo. n an example
from the F*11*1 study, a participant and researcher began to discuss a photo
showing a little boy about five years old, explaining that he is her friend. The boy
was standing in front of a house, but the respondent did not mention the house or
its function at first. Fowever, in describing and discussion the situation in the
photo, the respondent noted the function of the house: a public toilet for men. The
respondent explained that there was no such house for women and that she
wished there were. Gomen wor@ing in nearby shops had to ma@e individual
agreements with familiar families to go to toilet in neighbouring houses. The fact
that the boy was standing in front of a building initiated a discussion about the
function of the building and brought up a problem that would not otherwise have
been discussed with a foreign female researcher. /evertheless this unintended
occurrence was a valuable contribution to the overall understanding of the social
situation within the neighbourhood of the hammam. B$#C
&.) Standpoint of the photographer
Dxperience shows that participants are very engaged in the research process
while ta@ing the photos. n the active photo shooting phase participants are acting
freely on their own and are not observed by the researcher. They act within their
social environment with its own rules and normative behaviours, outside the
purview of the researcher. t is through the perspective of the photographer that
the scientist perceives social activity, thus illuminating both the perspective of the
photographer and the action before the camera. (D-FD(TR suggests
differentiating the action in front of the camera :NFandlung vor der ,ameraN< and
action with the camera :N,amerahandlungN< :(D-FD(TR, #>>+<. The action in
front of the camera is this activity which is seen in the image. n the following
example, it is the hand and figure of a young man. The action with the camera
shows the point of view of the photographerboth from a technical and an action
standpointta@ing a photo. n the example that follows, the photographer went
outside of the village to the edge of the settlement to ta@e his photo. Ghile
wal@ing, he met other village dwellers coming from the fields and too@ a photo of
the young man seen below.
%hoto 2: )A--D)), Sia 6utou, =( -hina 8 %hoto interview 4$: Gal@ into young man B$$C
*nalysing the point of view and action in front of the camera, the researcher"s
interest is focused on a specific group of village residents: young men. n the
)A--D)) case study of the village Sia 6utou, young men had a problematic
living situation within the village community. n several photo interviews, young
men were visible in photos but did not appear to have any explicit tas@s or roles in
their community. n effect, the young man in the photo was communicating with
the photographer and acting in front of the camera as if to say NhelloN and Nhere
we areN. Fe was as@ing the photographer and by implication the research team
not to forget to study also the situation of young men within the community as a
whole. *nother clear example of point of view and action on the part of a
participant photographer arose in the hammam study in -airo. The photographer
chose to visit only the locations that were acceptable places for women. n her
and her family"s opinion, slamic women should only be in private areas of homes,
not out in public areas. Thus, her photo interview provided the female researcher
with insights about where slamic women are allowed to go without brea@ing the
rules. The following example shows the perspective of a young female
photographer, and a daily view
0
from the balcony to the public street.
%hoto ;: F*11*1, -airo, Dgypt 8 %hoto interview 40: =iew on the street B$'C
Dxperience from several photo interview studies shows that ta@ing a photo is a
serious and important moment for the participants. n the interview, they often
report why they went to a specific place and reveal their motivation as they
describe the distance or other challenges they may have had to overcome in
ta@ing a photo. By analysing the perspective of the photos, one can reconstruct a
certain way of wal@ing within the neighbourhood and see the photos as a
documentation of the photo ta@ing process. The order of images on the film
shows the sequence of places visited by participants. Jocations become visible
within a photo? and persons, their social networ@, and their situations are
integrated by the photographer and made visible through his or her lens. The
point of view of the photographer tells its own story. .uring the photo interview it
can be useful to have a map of the neighbourhood on hand for pointing out the
0 The sociologist 6atima 1D(/)) born in 6e9 #>+4 describes and analyses the life of women in
the harem inside the houses, in their rooms, terraces and courtyards, in the period when she
was growing up in this specific female world :1D(/)), #>>+<. )he is showing in her wor@,
that women in slamic culture life in a specific Nwomen"s lifeN, accompanied with a specific view
on the world, protected from the men"s world outside the houses on the street. Gomen were not
allowed to leave the house of their own, but only accompanied by a male relative. 1D(/))
describes different rituals, dominating the female life: the story telling on the terraces, the visits
in the hammam, the family meetings and the wish of her mother and grandmother to develop
the daughter"s life with education and self-determination.
location of the places visited or noting the perspective from which the photos
were ta@en to enhance the photo interpretation phase
2
. B$+C
). Analysing Photo Interview *aterial
.ifferent disciplines approach the tas@ of analysing photo material from different
perspectives. The geographer and visual researcher Lillian (&)D suggests
analysing three aspects of visual images: Nthe production of images, the image
itself and the audienceN :(&)D, $44;, p.#'<, a distinction that brings out several
strategies for visual interpretation. n sociological research, images and photos
become a database of visual and social data. &ther disciplines, including history
of photography :,&)-F*TR,E, #>5+<, art history :%*/&6),E, $442<,
philosophy :)&/T*L, #>54, B*(TFD), #>50<, and semiotics :D-&, #>>#<,
assess the qualities and characteristics of images and have developed strategies
to bring images into their disciplinary research context. Gith semiotics, images
become representations and elements of a cultural expression :D-&, #>>#<. n
Dnglish-spea@ing countries, visual data are commonly seen as representations of
the current media and society and ripe material for sociological analysis of society
and the media. n other Duropean countries, such as 6rance, Lermany and
*ustria, using photos for sociological interpretation is increasingly accepted but
the use of visual material is still unusual in academic research. Fowever, within a
qualitative paradigm worldwide, more and more examples of visual studies can
be seen, for example in hermeneutical interpretation of photos from the )econd
Gorld Gar :F*A%D(T, #>>+< or in analysing visual messages within the societal
context of advertising :D/LJ)-F, #>>#? (D-FD(TR, #>>+<. *side from these
rare examples, questions remain concerning how images should be framed,
either with methods of observation or interpretation :B&F/)*-,, $44;?
1TJJD(-.&&F1, #>>;? )&D66/D(, #>5><. B$0C
).1 I%age prodction or involving participants
n analysing the photo interview, visual and interview data has two distinct
aspects: the process of image production and the photo and text material. n the
photo production process, participants contribute to the overall research question
and present their individual sub!ective viewpoint, visible in the photo content and
also in the image"s technical aspects, for example, the photographer"s point of
view or perspective. The photographer"s point of view reveals a social process
and tells a story about the person who is ta@ing the photo, within the larger
context of the participatory photo interview process of several respondents who
are ta@ing photos for the study. Thus, researchers may have a great number of
photos to analyse and consider. * useful and even necessary first step in the
analysis involves classifying photos from all participants into NspecificN groups,
categories, or themes of photos, irrespective of photographer. *ll the photos
ta@en by participants can be seen as respondent answers to the research
questions. -ategories for codifying the visual material should emerge from the
empirical date of the field wor@ bearing in mind that photos are response. B$2C
2 6irst experiences with showing standpoints and reference points on a map were positive.
The F*11*1 study provides an interesting example of categorising
photographic data. 6or this study, researchers focused on a sociologically
relevant reading that considered the spatial and societal frame of the photo, the
social activity depicted, and the photo ta@ing process. The process of analysis
used is distinct from other visual sociological approaches where images e.g.
advertisements, photos in newspapers and electronic media, have been
produced in societal daily life and are used as representative data material. Thus,
photo interview again emphasises the active role of the participants and the
participatory aspect of the method in the analysis as well as the data generation
phases. n analysing the production context of the visual data produced for a
photo interview study, researchers can understand participants" different
approaches to answering the research question and showing what matters in
their community. The process of ta@ing photos is a socio-cultural activity and an
intervention by participants into a social sphere as they explore the research
question and participate in the study. Thus, image production is part of the
research and belongs to the participatory part of the scientific setting. %articipants
are researchers within their social situation as they explore their daily life and
reveal their attitudes and the attitudes of their milieu within a certain cultural
framewor@. %hotos are NsupportingN research :(&)D, $44;, p.$'>< and the
production processes that resulted in the photos are also data presenting a socio-
cultural situation. Thus, visual data and their production processes provide
important cultural information and illustrate participants" and communities" wider
ethnographic and societal approaches, as suggested by %aul *t@inson,
NThere are many social phenomena that can and should be analysed in terms of their
appearance and performances that may be captured in visual terms. These are not,
however, separable from the social settings in which such phenomena are generated
and interpreted. They should not be explored purely as "visual" topics, but as integral
to a wide variety of ethnographic pro!ectsN :*T,/)&/, $440, par.#2<. B$;C
*nother analysis strategy is to examine the content of the photos, a step which
emphasises photo motifs :(&)D, $44;, p.0>< as representations of a specific
local spatial situation. 6or example in the F*11*1 study, where the
neighbourhoods of six different wor@ing hammam were observed as part of the
social and spatial framewor@ of the hammam itself, photos from several different
locations showed similar topics, e.g. abandoned houses and neglected places,
sites or renovated houses. The empirical material suggested classification of the
photos into several categories: #< sites and famous places from a visitor"s or
tourist"s perspective? $< single renovated buildings, mostly shown as an example
of good practice in ta@ing care of the neighbourhood? '< lively places li@e shops
and the mar@ets? and +< neglected places, often ruined or abandoned buildings in
the neighbourhood. The following table provides a list of the photos ta@en for the
study of the neighbourhood of the hammam in -onstantine :*lgeria< grouped in
the four categories described above
;
. The table shows the number of photos
ta@en per category and provides a summary of photo content.
; F*11*1: .ata (eport of the hammam in 6e9 and -onstantine, G% ): )ocial *spects: )ocio-
cultural patterns in the hammam and its neighbourhood, Feidi .A1(D-FD(, Bettina ,&JB,
.eliverable #4, unpublished internal report, $445.
(%ber of
photos
Category Contents of the photos
' )ights, famous places )everal photos from the bridge and the valley of
-onstantine :see also %hoto 5 in this article<
# (enovated buildings %hoto of a renovated building, white and blue
painted with balconies in the medina
> )hops, on the mar@et $ photos from a shop :!ewellery, wedding
dresses<
$ photos women shopping clothes on the mar@et
$ photos pedestrians peasants
' photos view from a window to the street
# (uined buildings &ne photo showing a ruined house with a
bro@en roof. *side there is an open space where
the empty walls show that there has been a
house
Table #: F*11*1, -onstantine, neighbourhood categories B$5C
Lrouping the photos provides an overview of the visual data and clues to
answering research questions concerning places and activities in the
neighbourhood. The photos" contents contribute to an understanding of the
problems and challenges the neighbourhood and town face on a daily basis.
)imilarities among the photos could be seen in the places depicted, their visual
content or the story that the photo was telling. 6or the hammam study content
analysis provided valuable input to the interdisciplinary case study research, as
the analysis provided a picture of the actual situation of the hammam
neighbourhoods and became a basis for envisioning future scenarios. The photos
depicted both positive and negative potential in the neighbourhood as seen from
the perspective of its residents, and showed the connectivity among places within
the hammam and its spatial situation in the urban neighbourhoods in a certain
socio-cultural setting. Thus, in this research context, the material of the photo
interview study can be analysed as a Nmirror of activitiesN, where places of
positive or negative attitudes are shown to me as a researcher. )tarting with an
empirical description of the photos, then connected the spatial places with the
Nseven fields of encounterN, a theoretical concept of a socio-cultural and spatial
con!unctions :.A1(D-FD( I ,&JB, $442<. Asing this theoretical approach,
could define the embedded nature of the hammam within the larger city space,
and could develop possible future scenarios for the hammam and its
neighbourhood grounded in the topics depicted and described by neighbourhood
residents. B$>C
).! Adiencing the photo and sharing infor%ation
The dataphoto and textgenerated by the photo interview process has a
dense and holistic character and is produced with a logical and emotional
motivation to communicate a specific topic to the researcher. This motivation is
explained in the interview situation, when participants give a narrative of the
photos, a certain way of NreadingN and decoding the image. Githin the photo
interview the respondent and photographer describe what the image represents
and what the photographer intended to show. The delicate question of the
ob!ective content of the photo is postponed. The respondent organises what to
thin@ about the photo and expresses a sub!ective reading of the image within the
context of the photo interview. Lenerally, the photo is considered as valuable
material for research, embedded in a research process centred on a question
that matters both to the researchers and to the participants. The narration
becomes a first interpretation by the participant as he or she explains the
motivation for ta@ing the photo. The first interpretation can be seen as @ind of
Nparticipants! readingN, and becomes a foundation for common @nowledge
between researcher and participant. deally the interview produces an
autonomous reading of the photo that supports the respondent"s conception of
world. n a further step this reading by the respondent can be augmented by an
additional reading, by the researcher. B'4C
n the photo interview participants select photos and give detailed and reflective
explanations. This selection process shows the value of the data material and can
create a sense of ownership, interest and personal engagement by respondents.
The interview gives a first interpretation of the photos from the participants, a
verbal statement for photos, or a narrative within the conversation. )ometimes it
explains a hidden feeling or concern, details of social life become evident.
)ometimes valuable information and details of social life become visible by
chance, when the interviewer and researcher can wor@ with the visual material of
the photos in the interview. n a process of co-creation participant and researcher
are NaudiencingN the photo and follow their specific sub!ective images and
concerns. n the following example 1iriam :name changed< explains the photo
she has ta@en from the famous bridge in -onstantine :see next paragraph photo
-onstantine Sidi "!#id Bridge<. Ghile audiencing the photo 1iriam spea@s about
the possibility of leaving the city:
Nf would leave -onstantine, would not ta@e in my head butshe shows the photo
would not remember anything U would not remember anythingU this is
-onstantine for me, the bridge and the roc@, this big roc@, don"t @nowN :%hoto
interview 4#, p$8$<. B'#C
n a first interpretation one can say that 1iriam is thin@ing about leaving the town.
Githin her daily life leaving the city is an everyday situation because she wor@s
outside the city. But what remains from her home town when she leaves it for a
longer periodH )he starts to thin@ about the possibility of leaving and how she
would feel. )he holds the idea of leaving in her mind as a possibility or a threat. f
she really did leave, she says that the roc@ and the bridge would be the main
elements that she would always carry along in her mind. )he does not show the
1edina on her photo? rather she shows the natural side of the city, the famous
access to the medina which, even by being absent from the photo, is still the
mental centre of the town. Gith the repeated N don"t @nowN she shows that she is
following a stream of thoughts that is not easy to follow and even less to express:
)hould she really thin@ of leaving this townH Eet contemplating this possible future
helps her to identify what is relevant for her in the moment of the interview. B'$C
The photo interview method invites participants to tal@ about feelings and
concerns using the photos as stimuli. .uring the interview participants often
spea@ in a narrative way, but also using short phrases that reveal serious
intentions and conflicts. Gith 1iriam"s example, her fears and desires related to
leaving the town are revealed, and the discussion opens up a latent research
question of the overall F*11*1 study. (esidents of the hammam
neighbourhood and clients of the hammam were reflecting the possibilities of the
NmodernN life facilities and the NoldN ones. (espondents mentioned the medina
and the hammam as tied to the NoldN ones, while they seemed to see life in a
modern surrounding as personally desirable. But what is behind the complicated
interdependency between old and modern features of the hammam for the
everyday life of its residentsH The *lgerian case study in -onstantine contributed
insights to answer this question by providing an interesting example of how the
modern features of the hammam are part of the city"s colonial history. *s is
apparent in the description of the following photo as well as comments made by
the participant during the interview and researcher observations made during the
field wor@, a comprehensive picture of residents" values and appreciation for the
city become evident. B''C
).# The i%age itselfscientist+s reading
6ocusing on the image itself, its sub!ects and motifs, is an essential aspect of
exploring patterns and social constructions within a sociological analysis. The
scientist"s reading or NaudiencingN of the image in turn also provides a valuable
resource for understanding the cultural content of the photo expressed in visual
codes. * photo itself is meaningful for the photographer in a way that is not
always explicit to other audiences :BD-,D(, #>;+<. Thus the first and essential
step in the scientist"s interpretation is to communicate the NcontentN of an image
for a scientific audience. &ne tas@ is to list the main contents of the image? this
NfixingN of the photo identifies the visual content that the researcher is able to
read and understand and becomes the basis for further interpretation. There are
many ways of understanding an image :(&)D, $44;<, but a description is
necessary to point out how the researcher is NreadingN or NaudiencingN the image
and understanding its visual content. This tas@ is a question of communication
and fixing the content for the audience and is not an ontological or philosophical
question concerning the reality revealed in the photo. 6ixing the content provides
a guide for any observer of the photo to begin to read it and forms the basis for
the scientific interpretation. 6ollowing scientists who wor@ with visual material? it
seems that a formal description of the visual content is helpful :B&F/)*-,,
$44;? (&)D, $44;<. 6or the hammam pro!ect, the initial step in establishing a
Nscientific readingN of the photos involved formally describing the contents of the
photo as fixed in three of the image"s sectors: front :sector #<, middle :sector $<,
and bac@ :sector '<.
%hoto 5: F*11*1, -onstantine, *lgeria 8 %hoto interview 4#: )idi 1"-id Bridge B'+C
The photo shows a valley built of roc@s, a natural crossover and a bridge
connecting the two sides of the roc@s. &n the photo one can distinguish three
main elements: n the front :sector #< the roc@s of the valley are shown with the
natural crossover between the two sides, the water of the river and the river beds.
Galls built from the water, straight walls of lime, falling straight into the valley.
The roc@s are without vegetation, in the river bed as well as on the left side of the
roc@s, one can see a tree. n the middle part :sector $< of the picture, the further
valley can be seen, more and more green plants ending up in white modern build-
ings in the bac@. * bridge with two arches crosses the valley in the bac@ground,
for a familiar observer, the Sidi "!#id bridge of -onstantine. &n the left side the
street becomes visible with a white car and the street lamp. The third part :sector
'< of the picture is a white plane separated in two parts by a dar@ line the
bridge. &n the rope bridge, three cars are crossing the valley. The bridge is
nearly in the sector of the golden ratio, and accomplishes the natural window of
roc@s in the middle in a symmetric replication. The description forms the basis for
the next step: an analytical interpretation of the visual contents of the photo within
its cultural and historical bac@ground, a process which embeds the photo"s
content in its context and reveals the deeper story told by the photo. n a sort of
cultural reading this analytical step explores the images, cultural connotations,
historical experiences and societal qualities. The photo of the roc@s and the valley
shows a fascinating unique natural situation, the characteristic ravine of
-onstantine, dividing the town into two parts. This unique scenery defines the
local area with is natural environment, in case of -onstantine the lime roc@. This
natural scenery creates and establishes the unique local identity. *nd within the
quotation of the local identity, one can say, that it is difficult to imagine how this
photo was ta@en. The point of view of the photographer is interesting, and without
local @nowledge about the pathways, not possible to reproduce. 6rom this
perspective, it is not easy to understand how to gain access to the roc@s. The
photo tal@s also about the experience of the local residents as regards coping
with the limestone. n addition to the historical development, which is also
mentioned in this picture, it shows the daily local mobility required to use the
pathways. This aspect considers the local historical experiences and strategies of
local sta@eholders in coping with this unique natural situation, but also with the
power of the 6rench colonial powers. The bridge on the photo was designed in
#>45 by the 6rench technician 6erdinand *rnodin, who was a specialist in
designing suspension bridges
5
. The bridge was completed #>#$ and has a main
span of #2+ meters. The bridge represents outsider @nowledge, introduced by the
occupying force. The photo raises the question, what human technical interven-
tion can contribute to a future development of the place and the future life qualityH
The photo shows three elements, in a visual way: the central elements in sector $
include the street built up in the roc@s and the modern buildings, while the central
element of sector ' is the suspension bridge. The medina where residents live or
wor@ :the old place and quarter of the studied hammam< is not visible in this
photo. *lthough the photo represents the conflict between the nature and
technique or modernisation, the photo argues with the natural situation and the
technical achievement of the bridge. t could be read as a positive connotation of
the technical achievements, and it could tell about the pride of living in a natural
setting of such beauty. *lthough the bridge is !ust a line on a photowhere
nature dominates in terms of planesthe image has a very strong blac@ and
white contrast where the bridge is represented. The bridge is connecting two
sides of the valley. The natural situation is successfully bridged through technical
intervention. The bridge can be seen as a symbol of technique, and guarantees
mobility, as a sign for movement and the possibility to leave the medina as a
place on the roc@or else to reach the medina from the outside. Therefore the
bridge could be read as a symbol of mobility and also of power and control. B'0C
5 6or further information see http:88www.constantine.free.fr8Ja=ille8pontsidimcid.htm B$44;-42-#>C.
This part of the article has shown that interpreting the photo interview data
requires interpreting visual data and the interview text together along with image
production and the patterns revealed in the image. =iewing and analysing the
visual, text, and field observation data together creates a holistic picturein the
presented exampleof the hammam and the values, hopes, history, culture, and
daily lives of its clients and residents of the hammam neighbourhood. n this
example of the F*11*1 study the scientist"s reading of the photo brings out the
capacity of humans to apply technical expertise in a site whose natural elements
are challenging. This analysis ma@es visible both historical strategies and the
viewpoint of the photographer. The analysis reveals that technical achievements
provide mobility through the challenging terrain while at the same time local
residents have the daily experience of moving through the site by using pathways
through the roc@s. -onsidering information from the interview in con!unction with
the image, we @now that 1iriam intended to communicate her daily tas@ of
leaving the city and coming bac@ again. )he tal@s about her decision to live in this
city with all its problems and opportunities, and the possibility of leaving.
*nalysing all available data material togetherfrom the topics revealed in all
neighbourhood photos ta@en for the study to a detailed analysis of one photo,
establishes useful empirical information about the hammam and its neighbour-
hood on which to base community development wor@ and future efforts. B'2C
,. Conclsion
The article explained the origin of the photo interview method and its
development within sociological studies and showed how the participatory photo
interview was successfully used in the inter- and transdisciplinary research setting
of sustainability and environmental research. Githin this wor@ showed the
characteristics of this visual sociological method and presented examples of
visual material and results of applied research, emphasising the participatory
character of this method. *pplying this visual method suggest noticing three
phases of the photo interview: involving, sharing and analysing within the
interpretation of the data material. explored the contributions of the phases to
the research process and how scientists can consider the relevant insights and
perspectives. 6or scientific analyses the data material of the photo interview
photos and textshow its qualities, because of the dense and holistic character
and the several interpretation levels researchers can use. *s shown, the method
of photo interview has proven particularly useful within the specific setting of
multicultural, inter- and transdisciplinary studies where scientific research aimed
at contributing to a local participatory process. The participatory photo interview is
a useful method of visual sociology to share results of social science with
scientists from other academic disciplines, local sta@eholders and respondents.
The photos and visual materials intensify the communication between all
research partners and the participatory photo interview process presents the
point of view from respondents: from observed research ob!ects to appreciate
daily life experts. B';C
Ac-nowledge%ents
Than@s to .r. Jaura J&(D/R, The 6aculty of the Feller )chool for )ocial %olicy
and 1anagement, Brandeis Aniversity, experienced in using photo-elicitation
interviews and the method of photo voice for carefully editing the Dnglish version
of this article.
*ll this wor@ would not have been possible without the financial support from the
Duropean Anion for the pro!ects: )A--D))N)ustainable Asers -oncepts
Dngaging )cientific )cenarios)A--D)))ustainable 6uture )cenarios for
-hinese )ettlements, $44$-$440, 0th 6%, -* +--T-$44$-#444; and F*11*1
Fammam, *spects and 1ultidisciplinary 1ethods of *nalysis for the
1editerranean (egionN, $440-$445, 6%2-$44'-/-&-1%--$, -ontract /umber:
0#;;4+
Than@s to Feidi .A1(D-FD(, coordinator and sustainability expert, attending
the interpretation with her linguistic @nowledge. Than@s to the local partners of
)A--D)) and F*11*1 in the case study teams for their hard wor@, dedication
and supporting the process of the photo interview with selection, translation and
transcription. 6ield wor@ was also facilitated by scientific -oordination of
&,&.(&1 team :lse 1*()-F*JD,, =eroni@a %(V/.J-R,*< without whom
the multidisciplinary process would not have ta@en place.
6inally want to than@ my family members for their endurance, especially than@s
to my daughter 1arina, graduated in political science, supporting this article with
her thoughts and criticism. Than@s also to (udolf (-FTD(, head of the
department of )ocial )ciences, Aniversity of =ienna, who has encouraged my
studies with photo interview since many years.
$eferences
*t@inson, %aul :$440<. 7ualitative researchAnity and diversity B$0 paragraphsC. Forum Qualitative
So$ialforschung % Forum& Qualitative Social 'esearch, (:'<, *rt. $2, http:88nbn-
resolving.de8urn:nbn:de:4##+-fqs404'$2# B&ctober $', $44;C.
Barthes, (oland :#>50<. 'hetorik des Bildes) n LMnther )chiwy :Frsg.<, *er fran$+sische
Strukturalismus :).#2$-#;4<. (einbec@: rororo.
Bec@er, Foward ). :#>;+<. %hotography and sociology. Studies in the ,nthroplogy of -isual
#ommunication, ., '-$2.
Begusch-%feffer@orn, ,arolina :$44#<. ,ulturlandschaftsforschung. n 1aria /icolinin :Dd.<,
Sprache, /issenschaft, /irklichkeit :pp.#+4-#+#<. Gien: bm:bw@.
Bohnsac@, (alf :$44;<. 'ekonstruktive So$ialforschung 0 1inf2hrung in 3ualitative "ethoden)
&pladen: Budrich ATB.
Bourdieu, %ierre :#>>#<. *ie feinen 4nterschiede) Kritik der gesellschaftlichen 4rteilskraft)
6ran@furt81.: )uhr@amp.
-ollier, Oohn Or. I -ollier, 1alcolm :#>>#<. -isual anthropology& 5hotography as a research
method. *lbuquerque: Aniversity of /ew 1exico %ress.
.umreicher, Feidi :$445a<. -hinese villages and their sustainable future: The Duropean Anion-
-hina research pro!ect N)A--D))N. 6ournal of 1nvironmental "anagement, 78:$<, $4+-$#0.
.umreicher, Feidi :$445b8in press<. The Fammam: )cenarios for a sustainable future. n Fassan
6e@ri :Dd.<, #ultural heritage and sustainable development in the ,rab /orld. *lexandria: The
Bibliotheca *lexandrina.
.umreicher, Feidi I ,olb, Bettina :$440<. The definition of sustainability in the view of social
science: )even -hinese villages and their potential for a sustainable future. n .ana ,. (aydan I
Fabib F. 1el@i :Dds.<, 1nvironmental sustainability& 9he challenge of awareness in developing
societies) 5roceedings vol) :, 5;1, :<<= 0 ::nd #onference on passive and low energy
architecture :pp.>$#->$2<. Beirut, Jebanon: /otre .ame Aniversity %ress.
.umreicher, Feidi I ,olb, Bettina :$442<. N1y house, my streetN. )even fields of spatial I social
encounter. n .ina )hehayeb, Fulya Turgut Eildi9 I %eter ,ellet :Dds.<, ,ppropriate home& #an
we design appropriate residential environments? :pp.>;-#45<. -airo: FB/(- :Fousing I Building
/ational (esearch -entre<.
.umreicher, Feidi I ,olb, Bettina :$445a8in press<. )ocio-cultural patterns in the hammam and its
neighbourhood. >nsaniyat, 'evue algeri?nne d!anthropologie et de sciences socials, @..
.umreicher, Feidi I ,olb, Bettina :$445b<. %lace as a social space6ields of encounter relating to
the local sustainability process. 6ournal of 1nvironmental "anagement, 78:$< -, '#;-'$5
Dco, Amberto :#>>#<. 1inf2hrung in die Semiotik. 1Mnchen: ATB.
Dnglisch, 6elicitas :#>>#<. Bildanalyse in stru@turalhermeneutischer Dinstellung. 1ethodische
Tberlegungen und *nalysebeispiele. n .etlef Lar9 I ,laus ,raimer :Dds.<, QualitativAempirische
So$ialforschung& Kon$epte, "ethoden, ,nalysen :pp.#''-#;2<. &pladen: Gestdeutscher =erlag.
Farper, .ouglas :#>5;<. /orking knowledge, skill and community in a small shop. -hicago: The
Aniversity of -hicago %ress.
Faupert, Bernhard :#>>+<. &b!e@tiv hermeneutische 6otoanalyse am Beispiel von )oldatenfotos
aus dem 9weiten Gelt@rieg. n .etlef Lar9 :Dd.<, *ie /elt als 9eBt :pp.$5#-'#+<. 6ran@furt81.:
)uhr@amp.
,olb, Bettina :#>>'<. "anipulation oder /irklichkeit, Cur 'e$eption visueller #odes in der /erbung
und deren gesellschaftliche -erankerung im ,lltag, 1ine Fotobefragung. .egree .issertation,
nstitute of )ociology of the 6aculty of )ocial )cience at the Aniversity of =ienna.
,olb, Bettina :$44#<. Fotobefragung Bilder $ur Desundheit. .issertation, nstitute of )ociology of
the 6aculty of )ocial )cience at the Aniversity of =ienna.
,olb, Bettina :$44;<. 9he potential of visualisation in a transdisciplinary research process) 5aper at
the #onference of British Sociological ,ssociation :<<8) "ethodological >nnovation in -isual
"ethod, http:88www.visualsociology.org.u@8bsa$44;8B)*finalpaper,&JB.pdf B*pril 4$, $445C.
,oschat9@y, Galter :#>5+<. *ie Kunst der 5hotographie, 9echnik, Deschichte, "eisterwerke.
)al9burg: (esiden9verlag.
1arschale@, lse :$445<. The concept of participatory local sustainability pro!ects. 6ournal of
1nvironmental "anagement, 78:$<, ::(A:E=)
1ead, 1argaret I Bateson, Lregory :#>+$<. Baseline character& , photographic analysis. /ew
Eor@: /ew Eor@ *cademy of )ciences.
1ernissi, 6atima :#>>+<. *reams of trespass) 9ales of a harem girlhood. /ew Eor@: *ddison
Gesley.
1Mller-.oohm, )tefan :#>>;<. Bildinterpretation als stru@tural-hermeneutische )ymbolanalyse. n
(onald Fit9ler I *nne Foner :Dds.<, So$ialwissenschaftliche Hermeneutik :pp.5#-#45<. &pladen:
Jes@e W Budrich.
/icolini, 1aria :$44#<. Sprache, /issenschaft, /irklichkeit& $um Sprachgebrauch in interA und
transdis$iplinFrer Forschung. Gien: bm:bw@
%anofs@y, Drwin :$442<. >konographie und >konologie) ,Pln: .u1ont.
(eichert9, Oo :#>>+<. )elbstgefXlliges 9um *n9iehen) n /orbert )chrPer :Dd.<, >nterpretative
So$ialforschung) ,uf dem /eg $u einer hermeneutischen /issensso$iologie :pp.$0'-$54<.
&pladen: Gestdeutscher =erlag.
(ose, Lilian :$44;<. -isual methodologies& ,n introduction to the interpretation of visual materials.
Jondon: )age.
)oeffner Fans-Leorg :#>5><. ,uslegung des ,lltags 0 *er ,lltag der ,uslegung) 6ran@furt81.:
)uhr@amp.
)ontag, )usan :#>54<. Gber Fotografie. 6ran@furt81.: 6ischer.
Gang, -aroline I Burris, 1ary *nn :#>>;<. %hotovoice: -oncept, methodology and use for
participatory needs assessment, Health 1ducation Behaviour, :@, '2>-'5;.
Guggenig, Alf :#>>4<. .ie %hotobefragung als pro!e@tives =erfahren. ,ngewandte So$ialforschung,
.(:#8$<, #4>-#$>.
Ein, (obert ,. :$44'<. #ase study research, design and methods. Jondon: )age.
Athor
Bettina KH;B is wor@ing since many years with
the visual method of photo interview and
developed the method to the participatory photo
interview as a sociological tool for inter- and
transdisciplinary research. )he is lecturer in
.epartment of )ociology8 Aniversity of =ienna and
social scientist in &i@odrom, The =ienne nstitute
for Arban )ustainability.
(esearch fields: visual sociology, participatory
photo interview, health promotion, social
sustainability, combining health aspects with
sustainability, social aspects of public space
-ontact:
Bettina ,olb
Aniversity of =ienna
.epartment of )ociology
(ooseveltplat9 $
=ienna #4>4. *ustria
D-mail: Bettina.,olbYunivie.ac.at
A(J: http:88www.oi@odrom.org8
Citation
,olb, Bettina :$445<. nvolving, )haring, *nalysing%otential of the %articipatory %hoto nterview
B'; paragraphsC. Forum Qualitative So$ialforschung % Forum& Qualitative Social 'esearch, I:'<, *rt.
#$, http:88nbn-resolving.de8urn:nbn:de:4##+-fqs454'#$;.

Involving and Sharing

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Involving and Sharing

Uploaded by

Copyright:

Available Formats

Involving, Sharing, AnalysingPotential of the Participatory Photo

You might also like