Miller workshop photovoicev3_oct2019

WORKSHOP: An Introduction to Photovoice
Professor Evonne Miller
Director QUT Design Lab, Creative Industries
Queensland University of Technology
insideagedcareproject.wordpress.com e.miller@qut.edu.au
@evonnephd

ICEBREAKER TASK 1:
INTRODUCTIONS
(1)Yourself and your interest /
background in photovoice
(2)What you want to learn about
photovoice today
(3) Explain the “lock screen-saver”
image on your phone
THE COMMUNICATIVE POWER OF PHOTOGRAPHY

What is Photovoice? JOINING OF PHOTOGRAPHY WITH VOICE
.
– Photovoice is a participatory qualitative
research methodology (Wang & Burris, 1997);
– Research participants take photographs to
communicate & advocate on a specific topic;
– Involves research participants producing their
own photographs as a form of data
collection;
– Longer history within
anthropological/ethnographic field work
– Form of ABR, which Patricia Leavy argues
should be “emotional, evocative, provocative,
illuminating , educational, and
transformative” (p. 213, 2017).

1. Enable community reflection on strengths or concerns;
2. Promote knowledge and critical dialogue through the
discussion of photographs;
3. Reach decision makers and advocate for change
Caroline Wang & Mary Ann Burris (1997) -
photovoice is a visual methodology with 3 goals:
Wang, C. & Burris, M. A. (1997). Photovoice: Concept, methodology, and use for
participatory needs assessment. Health Education & Behavior, 24, 369-387

• Building critical consciousness &
empowerment education (Paulo Freire)
• Feminism (centered on issues of
oppression, marginalization & political
action)
• Participatory documentary
photography
Theoretical Underpinnings
Recommended Book:
Amanda Latz (2017) – Photovoice research in
education and beyond: A practical guide from
theory to exhibition

Research process generally
includes three main stages:
– Firstly, ask participants to
take photographs of
things, places, processes
or people that relate to
topic under investigation;
– Secondly, ask participants
to talk about and share
their thoughts about why
they took each
photograph;
– Thirdly, hold a public
exhibition to communicate
the findings
Three Main Stages of PhotoVoice

Amanda Latz’s Eight Steps
Step 1 Identification Of issue/ problem, form an
advisory committee, with
policy-makers
Step 2 Invitation Invite prospective participant;
think about recruitment
Step 3 Education Explain ethics & intricacies of
photovoice process
Step 4 Documentation Photographic task & prompts
– day in life, highlights etc
Step 5 Narration Photographic narrative;
groups/individual; questions
eg SHOWED
Step 6 Ideation Participatory data/ thematic
coding
Step 7 Presentation Sharing images in public-
facing way
Step 8 Confirmation/
Evaluation
Feedback/Lessons Learnt
Latz, A. O. (2017). Photovoice research in
education and beyond: A practical guide from
theory to exhibition. New York, NY: Routledge.
“Remember, part of the allure of
photovoice is its flexibility. Steps
may be taken out of order. Some steps
may need to be repeated. And some
steps will be redundant. Wang and
Burris (1997) noted that photovoice is
malleable and ready for adaptation
for specific goals, diverse
communities, and various contexts.
Without having a project actively in
motion, it is difficult to know exactly
how to enact the steps. But knowing
the steps typically used will be a
comfort along the way” (p.61).

Q & A
Thinking about the Photovoice steps, which one
strikes you as most challenging and why?
How could we overcome them?
Amanda Latz’s Eight Steps
Step 1 Identification Of issue/ problem, form an advisory committee,
with policy-makers
Step 2 Invitation Invite prospective participant; think about
recruitment
Step 3 Education Explain ethics & intricacies of photovoice
process
Step 4 Documentation Photographic task & prompts – day in life,
highlights etc
Step 5 Narration Photographic narrative; groups/individual;
questions eg SHOWED
Step 6 Ideation Participatory data/ thematic coding
Step 7 Presentation Sharing images in public-facing way
Step 8 Confirmation/
Evaluation
Feedback/Lessons Learnt

THE PV PROJECTS
1. INSIDE AGED CARE 2. OUR CARE JOURNEY
3. THE FACES OF AGEING
4. HDR SUPERVISION
METAPHORS
(PADLET)

PROJECT 1 – PILOT PROJECT 2013-2014
My Life: Frangipanis, Friendship & Football
PILOT -
ITERATION 1:
Communal
Camera, staff-
facilitated,
photographs
that represent
daily life
over a year
Miller, E., Buys, L, & Donoghue G. (2019). Photovoice in aged care: What do residents value?
Australasian Journal of Ageing, 38(3), 93-97.
ten participants:
two males and
eight females,
66 to 92 years
(average 80 years)

Table 1: The process of selecting photographs for the exhibition
A resident holds her
favourite image, covered
in red dots as many
residents voted for it.
Residents, researchers,
family and one staff
member hold their
favourite images.
Residents display their
favourite images,
capturing valued
friendships and family
history.
ANALYSIS: All 40 images were printed in large A4 size, pinned around the room and
discussed. Residents placed a red sticky dot on their favourite 15. For those with poorer
mobility, a flip-folder containing copies of all images was provided.
Shortlisted images were moved to one wall for final discussion, theming and labelling.
Residents confirmed their preferred pseudonym and collaboratively curated 19
photographs, for an exhibition they chose to name: “My Life - Frangipanis, Friendship
and Football: A Photovoice Exhibition of Life in Aged Care.

Photo Selection Process –
Workshop
PILOT PROJECT:
My Life: Frangipanis, Friendship & Football
Wang and Burris (1997) proposed a threestage
approach: selecting, contextualizing, and
codifying - SHOWeD
Hergenrather, Rhodes, Cowan, Bardhoshi, and Pula
(2009) noted word data generated through photovoice
projects are “analyzed like other qualitative data,
through codifying data, and exploring, formulating,
and interpreting themes” (p. 688)
• What do you See?
• What is really Happening?
• How does it relate to Our lives?
• Why the issue exists?
• What can be Done about it?
ANALYSIS FOR PILOT PROJECT

My Life - Frangipanis, Friendship and Football
This is how they wished to
portray their life in aged
care to others
Miller, E., Buys, L, & Donoghue G.
(2019). Photovoice in aged care:
What do residents value?
Australasian Journal of Ageing,
38(3), 93-97.
Exhibition on-Site & GOMA
Photographs are always socially
constructed, representing an
intended message created for an
intended audience. Photovoice
images reflect “identity construction
and how they want themselves and
their lives to be seen by the
researcher and represented in the
images” (Pilcher et al., 2016, p.685).

ETHICS & REPEATED, LAYERED CONSENT

Q & A / Reflections:
Who can spot the limitations / learnings?

– assumed frailty &
highly staff facilitated
(budget-driven)
– reduced camera
accessibility means
reduced resident
autonomy and
ownership over
photography and
process
– depiction of only
positive ‘life stories’ :
predominantly positive
social interactions with
co-residents & staff,
outings & activities etc
Limitations & Learnings from PhotoVoice – ITERATION ONE (the pilot)

ITERATION TWO :
Inside Aged Care*
– Bought six cameras,
easy to use with good
ergonomics
– Reduced staff facilitation;
researchers spent time
during first interview to
assist residents to use
camera.
– AIM TO INCREASE
CONFIDENCE OF USE
Changes to PhotoVoice Process: SOLE USE, 2 WEEK PERIOD
*More resources and scope, desire to reduced staff facilitation role
and strengthen autonomy and agency of resident

EXAMPLES OF ITERATION TWO IMAGES
Compared to pilot photos of group activities and events, these were more lovely and revealing intimate and
everyday moments inside aged care. A focus on personal grooming (hair), personal activity (knitting etc),
social activity (dining room) and on the moments between activities.
sole use of
camera for two
weeks, to record
more about their
daily life –
highlights and
lowlights

PhotoVoice Photographs Captured WAITING
waiting for
medication, waiting
for morning exercises
in the dining room,
for guests, and on the
bottom right –
one resident waits
and looks forward to
his “favourite day -
Scrambled Eggs
Wednesday”

ITERATION THREE
structured activity
‘ DAY IN YOUR LIFE’
Take photograph every hour from waking
until going to bed, of whatever it was they
were doing, enjoyed or saw as challenges
Completed formal HOURLY activity sheet,
writing what they took a photo of and why
(aim to more fully engage residents and
identify any difference in image content )
Changes to PhotoVoice Process: “Day in Your Life” Structured Task
Addressed
concerns re ‘having
to remember
camera’ - ‘I had to
remember it’,
‘where did I leave
it’ etc

EXAMPLES OF ITERATION THREE IMAGES - Captured RITUAL
The photographs focused on ritual –
the place where I do my daydreaming, the safest place for my walker, my
morning prayer and mediations, the garden area that I water.

‘Just to see your whole life wiped away like
that, from you, you know....
I said, "Wherever I go, that angel comes
with me. I won't go anywhere unless she
follows me." And she's beautiful’
Matilda, age 82
• Photograph provides visual data, but
role of narration is important
• Provides context and meaning
• A means of way-finding for the viewer
Matilda: Unexpectedly admitted to aged care from hospital; never able to return to her home to pack her
belongings. Her family packed up her unit and sold most of her belongings in a garage sale
EXAMPLE OF ITERATION TWO IMAGES – AND VALUE OF NARRATION

ITERATION 1
(PILOT)
People
Outings
Activities
ITERATION 2 & 3
(INSIDE AGED CARE)
Spaces
Process
Objects
Rituals
PUBLIC, POSITIVE PRIVATE, INTIMATE
PhotoVoice - Rich Insight Into Daily Life in Aged Care
Varying the task: -from public, positive to private and intimate
CAPTURES STATUS: Far right image of the single cup depicts ability of resident to use a kettle, unlike other residents not permitted by staff

• Not familiar with cameras…
photography rare
• Stiff, arthritic fingers
• Tendency towards positive
(most photographs)
• Vulnerable / Power / Not Critical
• Wanting to be IN pictures
PHOTOGRAPHIC LITERACY IN MY PARTICIPANTS

“Creating aesthetically pleasing, artful, or precise photographs is not
the point of photovoice. The point is to make space for participants to
express themselves on their own terms, and what that looks like is up
to the participants. This should be made clear” (p.63, Latz, 2017).
A PROFESSONAL PHOTOGRAPHER…?
“who we are and where we stand when we watch the world determines how
we see and what we record” (Ewald & Lightfoot, 2001, p. 29).

… THE VALUE OF A PROFESSONAL PHOTOGRAPHER

INSIDE AGED CARE EXHBITION
Miller, E., Donoghue, G, Buys, L, & Holland-Batt, S. (2017). Inside aged care: A photograhic and poetic
exhibition of laughter, loss and leisure. Australian Journal of Dementia Care, 6(3), pp. 32-35.

THE POWER OF NARRATION
FOUR THEMES
• Being Me
• Inside & Outside Spaces
• Activities & Rituals
• Living Together – and apart

THE EXHIBITION OPENING – FEB 2017, STATE LIBRARY OF QUEENSLAND

• Need to consider issues of power,
vulnerability, voice, agency and
presentation
• Wang and Burris note “all
methodologies disclose as well as hide”
–few private or ‘negative images in
Inside Aged Care, even when we
changed the methodology (others have
shown tendency towards positive)
Q & A / THOUGHT BREAK:
What are some key takeaways
from the Inside Aged Care project for you?
THE MISSING OR ABSENT IMAGES?

PROJECT 2: OUR CARE JOURNEY
1. Life as a Carer & Co-Design an App
1. Different, younger cohort – more creative? (Foster creativity with instructions)

TEXT
MESSAGES
Donna shared photos of text
messages from the man who
infected her, the father of her
oldest son, with whom she has
had a tumultuous relationship
FOSTER A CREATIVE EYE..
Lennon-Dearing, R. & Price, J. (2018). Women living with
HIV tell their stories with photovoice. Journal of Human
Behavior in the Social Environment, 28(5).

Photographic Task Instructions
We would like you to take photographs of your experience giving or receiving care – this task can be
completed individually or jointly, keeping in mind the end intention to publicly exhibit the photographs
(e.g., in conjunction with Seniors Week and Carers Week) and engage the broader community in a
conversation about caregiving We would like you to do this over a 1-2 week period – until you feel the
photographs accurately represent your experience of giving or receiving care.
• You might like to photograph ‘a day in your life’, so for one day, taking one photograph every hour
you are awake
• You might choose instead (or as well) to photograph highlights, lowlights, challenges or simply your
day to day experience – and what helps and/or hinders
In photographing your experience, don’t forget to zoom in on details and to be as creative
as you wish – you could photograph concepts, metaphors, signs or words that
capture how you feel and what you want to share with other people. You might also
photograph what you thought the experience would be like, and what it actually is. . This task should be
enjoyable, as you creatively capture aspects of caregiving – remember, as well as photography, you can
also engage in other creative expressions that interest you (e.g, drawing, creative writing, videos etc).
Remember, if you are taking photographs in the community, in public spaces and of identifiable people,
explain the project to them – and ideally try to take the photograph so no people are clearly
photographed (eg through close ups of hands, bodies, spaces, places, buildings etc).
Finally, if it helps, you can record a brief note about each photograph below, and we will discuss what the
photographs capture and represent in the interview.
OUR CARE JOURNEY – TASK INSTRUCTIONS

PART 1: CO-DESIGN WORKSHOP (APP)
5 Minutes
for Me
PART 3: CREATIVE ARTS

Memories
Example ImagesPART 2: PHOTOGRAPHIC TASK
ANDREA’S HIGHLIGHTS & LOWLIGHTS OF
CARING FOR 92 YR OLD GRANDMOTHER
“Highlight – memories.
Lowlight…when the design of
the physical environment
(steps) means we cannot
easily access support
services” Andrea

Tidy… never
The level of how
much we care
about things
being tidy has
diminished. Some
times things being
in their rightful
place is just not a
priority. And hard
when you like
things tidy and in
order.
PART 2: PHOTOGRAPHIC TASK
Indepth Interview,
discussing each
picture
Professional
Photographs Then
Researchers
Themed

PROJECT 3: THE FACES OF AGEING
6 COTAQ ambassadors photographed ageing in their communities with Ipads, recording
details online. Given a photography basics workshop.
West End Community Breakfast follow-up by professional photographer

Composition is how you arrange the key elements or subjects in a
scene. With each photo, you should ask yourself:
• How can I draw attention to the main subject?
• How can I lead the viewer’s eye into and around the image?
• How can I eliminate distracting parts?
PHOTOGRAPHY WORKSHOP: THINK ABOUT COMPOSITION
1. Include A Focal Point – a
main point of interest
2. Follow The Rule of Thirds –
position the main elements in
a scene around grid edges
3. Shoot From Different angles
4. Fill the frame – close ups
Image Source: https://iphonephotographyschool.com/composition-tips/

PROJECT 4: HDR SUPERVISION METAPHORS
LESSON: ONLINE DATA COLLECTION
(PADLET

• Topic – this conference
(your learning, trip, work, health, aims/hopes/fears etc)
– STEP 1: GO AND TAKE A PHOTOGRAPH (OR TWO)
– STEP 2: DISCUSS & CODE THE PHOTOGRAPHS
• In your groups, discuss the photographs
• What photographs did you take – why??
• What trends do you notice?
• Are there any similarities /differences in photographs?
• How might you group them together?
• What themes do you see?
ACTIVITY 1: MINI-PHOTOVOICE
• What do you See?
• What is really Happening?
• How does it relate to Our lives?
• Why the issue exists?
• What can be Done about it?
SHOWeD

YOUR PROJECT
ACTIVITY 2: MINI-PHOTOVOICE

• Feasibility – time-
consuming (ethics)
• Competing interests –
industry partner,
participants, your research,
ethics committee, media,
exhibition attendees
• Expectations - powerful
method, but not everyone
is a ‘good’ photographer, so
narrative remains key
• Be organised
Lessons Learned

1. values the vantage point of participants;
2. uses the visual image, a powerful means of communication;
3. affirms the perspective of the vulnerable;
4. samples a variety of settings;
5. sustains community participation;
6. allows flexibility in project goals;
7. encourages participants to share the stories of others within
the community;
8. provides tangible benefits to participants (e.g. photographs);
9. depicts communities needs and assets; and
10. stimulates social action… …. ANY OTHER PRO’S?
Wang & Burris (1997) identified ten pros and six cons of photovoice: Wang
Wang & Burris, 1997, pp. 371–373)

1. potential risks to participants (e.g. exploration of sensitive
topics);
2. Postmodern scrutiny (e.g. problematizing who took the photos
and for what purpose);
3. control of resources (e.g. researchers may maintain existing
social stratifications by retaining control of the project’s funding);
4. difficulty in analysing photographs;
5. limitations of funding, transportation, and communication; and
6. methodological ideals may not be practically possible to uphold
(e.g. participants may not want to display their images)
Wang & Burris (1997) identified six cons of photovoice: Wang
Wang & Burris, 1997, pp. 374–375
….. ANY OTHER CON’S?

Now: Plan Your Photovoice Project g

WORKSHOP
An Introduction to Photovoice
Professor Evonne Miller
Director QUT Design Lab
Creative Industries
Queensland University of Technology
@evonnephd
FINAL QUESTIONS??

References
Latz, A. O. (2017). Photovoice research in education and beyond: A practical
guide from theory to exhibition. New York, NY: Routledge.
Miller, E., Buys, L, & Donoghue G. (2019). Photovoice in aged care: What do
resident’s value? Australasian Journal of Ageing, 1–5.
Miller, E., Donoghue, G, Buys, L, & Holland-Batt, S. (2017). Inside aged care: A
photograhic and poetic exhibition of laughter, loss and leisure. Australian
Journal of Dementia Care, 6(3), pp. 32-35.
Sutton-Brown, C. A. (2014). Photovoice: A methodological guide. Photography
& Culture, 7, 169-186.
Wang, C. & Burris, M. A. (1997). Photovoice: Concept, methodology, and use
for participatory needs assessment. Health Education & Behavior, 24, 369-387

The Golden Panda tree brightens my day to day life.
Nature is beautiful.
Photograph taken by Betty
Residents photographs illustrate the value of friendships (with residents and staff), activities & excursions (to beach, cafes
and football) and simply relaxing and appreciating the beauty in nature (frangipanis)

Friendship. We have found great mates.
Photograph taken by Beryl
The photographs illustrate how residents valued friendships (with residents and staff),
excursions (to the beach, cafes and football) and appreciating the beauty in nature (frangipanis).

We love football!
We watched the game and the team made the finals.
Photograph taken by Carol
Residents photographs illustrate the value of friendships (with residents and staff), activities & excursions (to
beach, cafes and football) and simply relaxing and appreciating the beauty in nature (frangipanis)

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