UROP Research
Investigating Photovoice
Exploring the Evolution of Photovoice Through Practice and Theory
Helen McKinney | Summer 2024
Study Aim
My research is intended to provide our larger year-long Photovoice project with a literature review highlighting best practices and ethics of the Photovoice methodology.
Defining Photovoice
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Origins of Photovoice
Outline
Theoretical Understanding
Goals of Photovoice within Wang’s Framework
Evolution of Goals
Ethical Considerations
Innovation in Practice: Virtual Photovoice
Tailoring the Methodology
Annotated Bibliography
Figure 1: So peaceful and pretty by Sarah (psydonuem), student who resettled from an Arabic Country, Chicago (Photovoice Gallery - Chicago, 2023)
Abstract
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Further Research
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Defining Photovoice
Figure 2: Hoeing Corn. Photograph by Li Qiong Fen, Chenhjiang County farmer, age 37 (Wang & Burris, 1994)
Photovoice is a form of Participatory Action Research (PAR) that was created by Wang and Burris in 1994 to understand the public health needs of mis- and underrepresented communities. It allows for people to “identify, represent, and enhance their community through a specific photographic technique.”
Participants in photovoice projects participate in photography and ethics training, take photos, typically representing community “assets” and “concerns,” engage in facilitated dialogue about photo meaning and themes, and present work to policy makers in exhibitions and other forms of advocacy (Wang & Burris, 1997, p. 369).
Origins of Photovoice
First referred to as photo novella, photovoice was created in 1994 by Wang and Burris so that participants and their communities could effectively share expertise and knowledge. It was originally used to support research for the Yunnan Women’s Reproductive Health and Development Program (Wang & Burris, 1997).
Photovoice has evolved to be a popular method of participatory action research, typically engaging majority-female groups on issues like reproductive health, violence, and specific community needs. In a review of 37 public health photovoice projects, Catalani and Minker found that “participants included a diverse range of ages, race/ethnicities, and geographical locations (2010, p. 439).
Figure 3: Exploded Frustration. Photograph by Eric Dutro, Flint, Mich, 1999 (Wang et al., 2003)
Theoretical Understanding
Empowerment Education
Brazilian educator Paulo Freire argued that photographs were a form of communication for community reflection, “mirroring the everyday social and political realities of people’s lives” (Wang & Burris, 1994, p. 172).
Serves as a kind of problem-posing education which allows people to identify the central issues of their lives and identify common themes through dialogue (Wang & Burris, 1997)
Feminist Theory
The key characteristics of process and content of feminist activities:
- “Women are the active central focus/subject
- Cooperative group activity is the predominant working mode
- There is recognized need for liberation from the oppression of the status quo
- Issues affecting women are identified, and strategies for action are developed
- There is an open, inclusive, accessible, creative, dynamic process between people, among activities, or in relation to ideas
- There is a commitment to respect and include women’s ideas, theories, experiences, and action strategies from diverse experiences that appear to be, and sometimes are, in conflict” (Linton, 1989; Wang & Burris, 1994, p. 174).
Documentary Photography
While Photovoice is based in documentary photography theory, Photovoice critically addresses issues of ownership and likeness. Historically, many of the most famous documentary photographers gained profits and notoriety while the subject gained nothing. Photovoice draws upon work from the Mekaron Opoi Doi Project with the Kaypo Indians of Brazil and Jim Hubbards work with homeless children where the subjects learn photography and become the photographers (Wang & Burris, 1997)
Figure 4: Photograph by Pang Mei Zhi, Yunnan, China, 1994 (‘Visual Voices’: Photos from China, 2001)
Goals of Photovoice
within Wang’s Framework
One:
Photovoice enables “people to record and reflect their community’s strengths and concerns.”
Two:
“To promote critical dialogue and knowledge about important community issues through large and small group discussion of photographs”
Three:
“To reach policymakers” (Wang & Burris, 1997, p. 369).
Evolution of the Goals of Photovoice
A Renewed Emphasis on Social Change and Researcher/Subject Intervention
While the feminist theory that supports Wang’s original photovoice framework explicitly includes the need for liberation from oppressive systems, further literature has defined photovoice as a uniquely apt tool for social justice in expanded ways (Wang & Burris, 1997). In Castleden and Garvin’s work with the Huu-ay-aht First Nation, they included the Huu-ay-aht at every step of the research process to ensure that the results of the research both accurately represented the community and could be used for advocacy (2008). Researchers have also utilized further qualitative analysis to show the intervention like effects of photovoice on both participants and researchers (Foster-Fishman et. al, 2005).
Figure 5: Photograph by Tarsha Gunn, Fayetteville, North Carolina, 2021(The Fayetteville Exhibition, 2021)
Ethical Standards
While ethical considerations were essential to the original formulation of the first Photovoice project in Yunnan, they have continued to evolve. Wang specifically considered photovoice ethics in 2001 after a Flint-based project. They advocated for the use of consent forms, both from participants and any subjects in photographs in order to address the intrusion of photography into private life and space. They also refused to publish incriminating images or one that placed the subject in a false light. Additionally, participants should both own the negatives they produce and receive honorariums if images are reproduced. Wang also discussed how the burden of organizing for change is typically placed on poor and minority groups and attempted to distribute the burden more equitably by including young people from higher income households, adult neighborhood activists, policymakers, and community leaders (Wang & Redwood-Jones, 2001).
Provide and review with participants a consent form, regardless of whether required by the facilitators’ sponsoring institution |
Provide an “Acknowledgment and Release” consent form on which participants obtain the signatures of the people they photograph, regardless of whether required by the facilitators ’sponsoring institution |
Frame the first training around a group discussion about the use of cameras, power, and ethics, emphasizing safety and the authority and responsibility that come with using a camera |
Provide written material (such as a brochure that describes the goals of the photovoice project,who will participate, how photographs will be used, and whom to contact for more informa-tion) that participants can give to subjects or interested community members |
Provide a letter for youth or adult participants to give teachers and school principals or employers as applicable regarding the goal and duration of the project and establish whether and how cameras will be used at school or work |
Provide participants with prints to give back to people they have photographed |
Provide and review with participants a consent form indicating permission to publish any photographs, or only specified photographs, to promote project goals, regardless of whether required by the facilitators’ sponsoring institution |
Mentor project staff and participants on the ethical principles and actions underlying photovoice |
Table 1: Photovoice Ethics: Minimum Best Practices (Wang & Redwood-Jones, 2001).
Further Ethical Standards and Practices
Presenting Researcher as a Process Faciliator
This emphasis allows for a shared commitment between the researcher and the community to assess the community’s assets, identify community concerns and priorties, create knowledge, and develop action plans for change” (Hergenrather et. al, 2009, p. 695).
Documenting your Work
To ensure the trustworthiness and rigor of Photovoice research, it is essential for researchers to “document and report the details of their work” (Castleden et. al, 2008). Considering the popularity of Photovoice projects, sometimes in lieu of longer ethnographic analyses, this assists in ensuring rigor of the practice
Working with Community Organizations
One of the best ways to reach both participant’s communities and policymakers is for researchers to work alongside community organizations (Wang et. al, 2004). It allows photovoice to work as Community Based Participatory Research, engaging a whole community in a reasearch process to advocate for themselves and learn how to engage in academic research.
Community Inclusion throughout Research Process
Community members need to be involved at each step of the research process to ensure that the data is “authentic to community experience and action.” This means that participants should be involved at every step of a project, not just data collection (Herganrather et. al, 2009, p. 687).
Critical Consideration
Researchers must critically consider the theories behind Photovoice (empowerment education, feminist theory, documentary photography) at every step of the process to ensure Photovoice is being implemented ethically and effectively (Liebenberg, 2018).
Empower Participants toward Social Justice
Social justice defined as the right and oppurtunity of people “to thrive in our communities, regardless of our identities” (Breny & McMorrow, 2021, p. 5). Photovoice can empower both particpants and their communities to engage in grassroots organization and self advocacy to make change outside of the process.
Innovations in
Practice:
Virtual Photovoice
Traditional Photovoice
Virtual Photovoice
Recruitment through community involvement, community organizations, flyers, and in=person connections.
In person training workshop with entire participant group (photography and ethics training)
Group selection of best photos and group dialogue around individual’s chosen photos
Group discussion to illicit themes, issues and theories
Reach others for change through advocacy, group exhibitions, photobooks
Recruitment through social media sites and ads, emails, text, and calling
Individual Zoom intake meetings/Group Zoom intake meetings with little Photovoice specific training
Individual Zoom meetings to learn about photos/Group meetings to illicit group dialogue around photos
Virtual Exhibition, Final Evaluation of Photos and Transcriptions
While virtual Photovoice became more common as mobile phone cameras entered the market and became increasingly accessible, the COVID-19 pandemic accelerated the usage of virtual Photovoice. Virtual Photovoice has been used in a variety of ways, there are times it has been used very closely with the original goals of Photovoice and times that it has really deviated (Breny & McMorrow, 2022). It has allowed for international recruitment of participants, both diversifying the participants within the individual projects while also shying away from the community specific involvement characteristic of many notable earlier Photovoice projects (Oliffe et. al, 2023). When considering both Wang’s original goals of Photovoice and the continuing emphasis on social justice and grassroots organization, researchers must critically consider how they can still implement these goals at every step of the process.
Table 2: Comparing Traditional and Virtual Photovoice
Virtual Photovoice: Benefits & Concessions
In light of both the Covid pandemic and the emergence of mobile phones, the landscape of Photovoice research has fundamentally changed. The ability to implement virtual Photovoice projects comes with benefits and concessions for researchers:
Benefits
- Saves money during research process; Oliffe et. al saved upwards of $28,000 dollars by doing Zoom interviews with International participants (2023)
- Recruitment is cheaper and less time consuming
- Can include people from across the world
- Chat features on programs like Zoom allow for participants to have another way to contribute to group dialogues
- Easy transferability of photos to virtual exhibitions (Breny & McMorrow, 2022).
Concessions
- Participants without internet access were excluded
- Time and energy must be devoted to ensuring participants are not phishing or bots
- Researchers are simply unable to get to know participants in their own environments
- A majority of participants utilized old photos instead of photos taken specifically for the study (Oliffe et. al, 2023).
Tailoring the Methodology
Many researchers have altered the Photovoice process to fit the community involved in the research, an essential aspect of Photovoice (Jarldorn, 2019).
Castleden and Garvin altered the process in several ways while working with the Huu-ah-ayt First Nation. They provide an exemplar of how to update the process to serve a community’s research needs (2008).
Figure 6: Photo of Huu-ay-aht Ancala Office (Huu-ah-ayt Nation, n.d)
The Huu-ah-ayt Nation were included at every single step of the research process, even in the beginning where project themes and goals were first discussed. They received participatory analysis at every single step of the process in order to ensure the truthfulness and understanding of the photography and associated themes. The above table from the article shows this change. Additionally, they met with the community’s advisory committee to review both group and individual dialogues for accuracy (Castleden et. al, 2008).
Tailoring the Methodology Continued
Willingness to Adjust the Script
Since the researchers and participants are collaborators in any Photovoice project, it is essential for researchers to be willing to adjust the script based on participant feedback (Jarldorn, 2019). McIntyre adjusted when participants, working-class women from Belfast, criticized the SHOWED question format utilized by Wang and trusted the participants to review the photographs themselves (McIntyre, 2003).
Individuals Interviews vs. Group Dialogue
The decision to evaluate photos in group settings, as orignally done by Wang versus having individual review session with a research assistant is varied among notable Photovoice projects (Jarldorn, 2019). It is an important aspect of tailoring the methods to fit the community participating in the research (Castleden et. al, 2008). Whether building an in-person or virtual Photovoice project, this is an important question to critically consider during the preliminary processes.
Figure 7: Bent and Broken, Torn and Twisted, but I Still Grow. Photograph by Shelley (Jarldorn, 2019).
Figure 6: Looking Back at You While You Are Looking Back at Me. (Photograph by Cynthia Parkin, Flint, Mich, 1999 (Wang et al., 2003)
Annotated Bibliography
I completed an initial annotated bibliography for this project which will be built upon for my final literature review.
Link
Abstract
Photovoice is an innovative qualitative research method that allows participants to be involved at every step of the research process and utilize their expertise to provide researchers with authentic data about community assets and concerns. It will enable researchers to understand a community’s resilience level, or its ability to respond and recover from disasters, setbacks, and greater societal problems (Cutter et al, 2008). This study investigates how the theory and origins of Photovoice connect to the modern evolution of ethical standards and practices. This review builds upon the initial Photovoice studies and accompanying literature by Wang, other notable Photovoice studies, Photovoice literature reviews, and further Community Based Participatory Research literature to synthesize information on Photovoice standards and practice. The outcome of this research is a review of Photovoice history and an understanding of Photovoice ethics and practices to be used by researchers trying to begin a Photovoice project and understand it’s nessecities.
Keywords: Photovoice, Resilience, Qualitative Research
Figure 7:Photograph by Mikenzie Booker, Fayetteville, North Carolina, 2021(The Fayetteville Exhibition, 2021)
Further Research and Implications
Literature Review
My literature review will utilize this research, in addition to a systematic review of modality, geography, and discipline to make conclusions about the current state of Photovoice literature.
Larger Project
I will be assisting my mentor, Dr. Page-Tan in facilitating a local Photovoice project, “Portraits of Resilience,” which will collect data on the level of community resilience in specific Indianapolis neighborhoods.
Figure 8: Professional headshot of Helen McKinney by Lance Swartzentruber (2023)
Contact:
If you want to hear more about my research or our larger Photovoice project: email me at helmckin@iu.edu or connect on Linkedin ; email my mentor, Dr. Courtney Page-Tan at cmtan@iu.edu
Sources
Breny, J.M., & McMorrow, S.L. (2021). Photovoice for social justice: Visual representation in action. SAGE Publications, incorporated.
Breny J.M., McMorrow SL. (2022). Research Engagement in a Virtual World: Strategies for Maintaining the Power and Impact of Photovoice Research Online. Health Promotion Practice. 2022;23(2):235-240. doi:10.1177/15248399211065713
Catalani, C., Minkler, M. (2010). Photovoice: A review of the literature in health and public health. Health Education & Behavior, 37(3), 424-451. DOI 10.1177/1090198109342084
Cutter, S.L., Barnes, L., Berry, M., Burton C., Evans, E., Tate, E., & Webb, J. (2008). A place-based model for understanding community resilience to natural disasters. Global Environmental Change, 18, 598-606.
Foster-Fishman, P., Nowell, B., Deacon, Z., Nievar, M.A., & McCann, P. (2005). Using methods that matter: The impact of reflection, dialogue, and voice. American Journal of Community Psychology, 36(3), 275-291. DOI10.1007/s10464-005-8626-y
Hergenrather, K.C., Rhodes, S.D., & Bardhoshi, G. (2009). Photovoice as community-based participatory research: A qualitative review. American Journal of Health Behavior, 33(6), 686-698.
Jarldorn, M. (2019). Photovoice handbook for social workers: Method, practicalities and possibilities for social change. Palgrave Macmillan.
Liebenberg, L. (2018). Thinking critically about photovoice: Achieving Empowerment and Social Change. International Journal of Qualitative Methods, 17(1). https://doi-org.proxy.ulib.uits.iu.edu/10.1177/1609406918757631
Linton, R. (1990). Toward a feminist research method. In A. Jaggar & S. Bordo (Eds.), Gender/Body/Knowledge. Rutgers University Press.
McIntyre, A. (2003). Through the eyes of women: Photovoice and participatory research as tools for reimagining place. Gender, Place, and Culture, 10(1), 47-66.
Oliffe, J.L., Gao, N.,Kelly, M.T., Fernandez, C.C., Salavati, H., Sha, M.m Seidler, Z.E., & Rice, S.M. (2023). The case for and against doing virtual photovoice. International Journal of Qualitative Methods, 22, 1-12.
Photovoice gallery - Chicago. (2023, Aug. 14). Washington University in St. Louis. https://storymaps.arcgis.com/stories/b11e4c57d8b44c279eb3920c2d7f778f
The Fayetteville Exhibition. (2021). NC Photovoice. https://www.ncphotovoice.org/single-project
‘Visual voices’: Photos from China. (2001, Dec. 15). Nieman Reports.
Wang, C. & Burris M.A. (1994). Empowerment through photo novella: Portraits of Participation. Health Education Quarterly, 21(2), 171-186.
Wang, C. & Burris, M.A. (1997). Photovoice: Concept, methodology, and use for participatory needs assessment. Health Education & Behavior, 24(3), 369-387.
Wang, C.C., Morrel-Samuels, S., Hutchison, P.M., Bell, L., & Pestronk, R.M. (2004). Flint photovoice: Community building among youths, adults, and policymakers. American Journal of Public Health, 94, 911-913. https://doi-org.proxy.ulib.uits.iu.edu/10.2105/AJPH.94.6.911
Wang, C.C. & Redwood-Jones, Y.A. (2001). Photovoice ethics: Perspectives from Flint photovoice. Health Education and Behavior, 28(5), 560- 572.