cultural anthropology journal photo essay

• DOI: 10.1111/var.12103
• Corpus ID: 191826883

The Photo Essay

• P. Sutherland
• Published 1 November 2016
• Visual Anthropology Review

3 Citations

Documentary photography as vocation: reflecting on frank cancian’s contribution to visual studies, that interim period: england's agricultural transition, floodzone by anastasia samoylova (with the essay “coming waters” by david campany). göttingen, germany: steidl, 2019, related papers.

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Visual Anthropology of Japan - 日本映像人類学

Explorations and experiments in visual representations - ethnographic film, photography and visual media

Tuesday, March 28, 2017

"writing with light photo essays - a collaboration between cultural anthropology and visual anthropology review".

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Position Pieces

Vol. 8 No. 1: April issue

Thinking through the Photo Essay: Observations for Medical Anthropology

• Jerome W. Crowder  ▸  ▾
• Elizabeth Cartwright

Author Biography

Clinical Associate Professor, Education & Research in the Department of Behavioral & Social Sciences at the University of Houston College of Medicine.

As photography becomes more prevalent in ethnographic research, scholars should more seriously consider the photo essay as a medium for sharing their work. In this Position Piece, we present guidelines for the creation of ethnographic photo essays for medical anthropology that do not simply combine image and text, but create a balance that allows words to provide context for the image(s) and images to reinforce or challenge the text. We feel there are three basic elements every photo essay must consider that are informed by the theory and practice of visual anthropology. While a solid background in visual anthropology is not necessary to produce a successful photo essay, being mindful of these three elements in relation to your work will help you develop a photo essay that combines the best of what both media offer your audience.

Most read articles by the same author(s)

• Jerome W. Crowder, Winston P. Crowder, A journey through chronic illness , Medicine Anthropology Theory: Vol. 6 No. 1: April issue

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Vol. 35 No. 1 (2020)

The first Cultural Anthropology issue of 2020 features five original research articles, as well as our first edition of a new feature, Colloquy . Colloquy collections are intended to take the form of a conversation in which different vantage points are explored and debated on a shared theme or concept. “Gestures of Care and Recognition” brings together a series of essays by Lauren Cubellis, Lisa Stevenson, Ken MacLeish, Michele Lancione, and Zoë Wool. In these provocative discussions, each of the authors grapples with the theoretical uncertainty and representational challenges in the ethnographic encounter with care.

The research essays begin with Pablo Jaramillo’s rich exploration of the remains of gold mining in a Colombian town. Jaramillo demonstrates with often gripping ethnographic evidence the ways that small-scale miners work to craft a viable and (re)productive future out of the remnants of industrial mining in the region. Amy Zhang considers an experimental project intended to transform the black soldier fly into an ally in Chinese waste management efforts. Her exploration of the logics of this biocapitalist effort reveals the ideological limitations of ideas of “nature” independent of the human labor that is entangled in the work of generating “green” value. As cynicism seems to have saturated so many political projects on a global scale, Girish Daswani offers a comparison of distinct activist responses to the abiding theme of corruption in Ghanaian politics. His insights detail a prevailing concern with the cynicism of elites, but he also shows how artists and performers imagine their creative efforts to be an example of the way that political change may yet be possible. Dimitrios Theodossopoulos draws reflexively on the “split-self” of ethnographic authorship to reveal a double discourse, between idealism and rationalism, at the center of Greek leftists’ debates over the efficacy of humanitarian solidarity amidst protracted austerity. His playful use of graphic ethnography to caricature these positions reminds us of the role of ethnographic conversation in the formation of ethnographic narrative. Multiculturalism has been subject to widespread critique in contemporary anthropology, but Seçil Dağtaș offers a new perspective on its possibilities. Her discussion of a multireligious musical ensemble, the Civilizations Choir of Antakya, demonstrates the value of exploring attempts to represent minority ethnoreligious communities as sites where multiculturalism is now challenged by xenophobic, so-called “populist” authoritarianism in nations like Turkey, and so many others.

The photo on the cover of this issue is by Pablo Jaramillo.

DOI: https://doi.org/10.14506/ca35.1

Gestures of Care and Recognition: An Introduction

Looking Away

Sympathetic care, care and the nonhuman politics of veteran drunk driving, underground inscriptions, mourning, affect, sociality: on the possibilities of open grief, mining leftovers: making futures on the margins of capitalism, circularity and enclosures: metabolizing waste with the black soldier fly, on cynicism: activist and artistic responses to corruption in ghana, solidarity dilemmas in times of austerity: auto-ethnographic interventions, the civilizations choir of antakya: the politics of religious tolerance and minority representation at the national margins of turkey, begin typing to search., showing results mentioning: “ ”, our journal.

Acknowledgements

The Photo-Essay is Dead, Long Live the Photo-Essay is both the name of a workshop and title of a rapid-prototype publication. The workshop was organized by the Ethnographic Terminalia Collective for the 2016 meetings of the American Anthropological Association in Minneapolis Minnesota, held on November 17, 2016. The workshop featured presentations from international contemporary art photographers, photo-journalists and anthropologists and resulted in a collaboratively-produced rapid prototype ‘zine of the photo-essays curated for presentation in the workshop and photo-essays by workshop participants. The zine cover was designed and the book was printed by Sam Gould of Beyond Repair , in Minneapolis as a limited edition and distributed at a launch event 36 hours later.

About the publication

Before the workshop, presenters were asked to submit creatively designed and critically engaged page-spreads featuring photo-essays and discussions they would present during the workshop. Participants in the workshop were encouraged to print photographs from their own photo-essay works in-progress and bring them to work with, throughout the day. We documented the event and the spreads and notes and included a selection of them in the zine publication. Sam Gould of Beyond Repair created the cover.

While photographs have been a component of anthropological practice since its earliest formation as a discipline, there has been little sustained and critical engagement with modes of presentation and publication in the context of visual anthropology. As a result there has to date been little clarity around the definition of a photo-essay especially within the context of anthropology. This reality is precisely what interested us. Our academic conventions for sharing photographs have been cemented around a limited number of typically black and white images in a journal article or monograph.

We also believe that still photographs and their entanglements with other media are on the cusp of finding new importance in anthropology in the form of the photo-essay, in particular as the serial nature of photography is being tested out within digital infrastructures on the Internet. We were interested in a workshop that could be a testing ground, and so we encouraged making and working on the photo-essay by the workshop participants: To disrupt, to re-define, and to work within and beyond the photographic frame. ET provided simple supplies such as scissors, sharpies, post-its, and invited participants to use these to explore new modes presentation, to include new formats, to create a record of questions and comments that arose over the course of the day.

Building on Ethnographic Terminalia’s art-anthropology experiments at off-site locations, we decided to return to the American Anthropological Association annual meetings site in 2016 to re-examine the photo-essay within anthropological, photographic and publishing communities within the format of a workshop. ‘The Photo-Essay is Dead, Long Live the Photo-Essay!’ emulates our recent workshop and rapid-publication projects ( Vancouver 2015 ). To achieve this within the framework of the AAA meetings, we issued an open call and invited participants to actively consider how experimentations at the intersection of art and anthropology might function as prototypes for thinking about the future of the photographic image in anthropology.

The workshop was organized around presentations by international contemporary art photographers, photo-journalists and anthropologists, in three parts. Part One began with provacteurs Stephanie Sadre-Orafai and Jordan Tate (University of Cincinnati). Part Two featured Lee Douglas (New York University), Kate Schneider (Ontario College of Art and Design), and Teresa Montoya (New York University). Part Three featured Aubrey Graham (Centre for Humanities Research, South Africa) Donna DeCesare (University of Texas, Austin) and Jeffrey Schonberg (San Francisco State University).

After the workshop, Ethnographic Terminalia and guest editor Gabriela Aceves-Sepulvéda completed the design, layout, and printing of the zine. Then we sent it to Sam Gould at Beyond Repair in Minneapolis for printing and binding within a 36-hour time frame. These limited edition print copies were made available on Saturday, November 19, 2016 at the Society for Visual Anthropology-supported Ethnographic Terminalia Lounge and Book Launch in the AAA Meeting venue.

‘The Photo-Essay is Dead, Long Live the Photo-Essay!’ was organized by the Ethnographic Terminalia Collective for the 2016 meetings of the American Anthropological Organization in Minneapolis, Minnesota. This rapid-prototype publication, which was printed and launched within 36 hours of the conclusion of its partner workshop, and this website, is the product of the creative energy and enthusiasm of many people and organizations.

We would like to express our gratitude to all of the workshop participants for joining us in the experimental creation of this publication. In particular, we acknowledge the workshop presenters for sharing their inspiring work in the workshop and in the pages that follow: Stephanie Sadre-Orafai, Jordan Tate, Jeffrey Schonberg, Donna DeCesare, Kate Schneider, Lee Douglas, Teresa Montoya, and Aubrey Graham.

Our gratitude to Gabriela Aceves Sepúlveda, who led the print design and layout of the zine, and to Hannah Turner who assisted the rapid-production of the zine throughout the workshop and into the night. We are also very grateful to have had the opportunity to work with Sam Gould at Minneapolis’ Beyond Repair , who designed and printed our cover, and facilitated the rapid printing of the publication. Thank you to Reese Muntean and Aynur Kadir for documenting the workshop. 

We extend our sincere thanks to the American Anthropological Association (AAA), in particular Ushma J. Suvarnakar and Samuel Martinez, for inviting this experimental event to the 2016 meetings. We are ever grateful to our funding partners for making this work possible: The AAA, The Society for Visual Anthropology, and the Canadian Social Science and Humanities Research Council.

This website was designed by Kate Hennessy, Aynur Kadir, and Kyle McIntosh at Popgun Media.

Photographs are by Reese Muntean and Kate Hennessy.

The video was produced by Aynur Kadir and Kate Hennessy with the Ethnographic Terminalia Collective.

The Ethnographic Terminalia Collective is: Stephanie Takaragawa, Trudi Lynn Smith, Fiona P. McDonald, Kate Hennessy, and Craig Campbell.

Photo Essay Submissions

We welcome submissions from anthropologists at any stage in their career, working on any topic in any geographic region. You can download our best practices for this form of public scholarship and send us a message below and check out our published photo essays for inspiration. You retain all the rights to your images and are free to use them in any other context — just let us know how we can copyright your work, if applicable. We do ask that you do not reuse or remix your writing, however. Feel free to ask questions in the comment section below!

Given the specificities of a photo essay — light on text, heavy on photos — it may be helpful to conceptualize your photo essay around a discrete concept or theme. This might mean thinking about how to visually represent a concept that has been important to your written research — one that you feel is important engage a public audience, or that could be useful in public discourse. However, you might also take this opportunity to explore a concept that has come up in your research but that you haven’t been able to explore in written scholarship.

Think of yourself as a visual storyteller.

Download “Photo Essay Best Practices” cool-anthropology-photo-essays-best-practices.pdf – Downloaded 34 times – 732 KB

Dear Photo Essay Editors,

I really want you to check out photos I have taken and read the introduction to my essay. I understand I need to submit a link where you can access and view the photos along with a 200-300 word introduction, and that -- if my essay is selected -- I will be coached to write robust and engaging captions for the public to more completely understand my work and perspective.

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Four examples of the photo essay

Related Papers

Visual Anthropology Review

patrick sutherland

Sofia Caldeira

The aim of this text is to explore the possibilities for the study of the photographic image in the scope of Visual Anthropology. It begins by presenting the predominance of the Visual in contemporary society and the current anthropological interest in the questions of visibility. The text then refers the ability that images have to expose wider social problematics. Soon after it points to some methodological possibilities for the study of visual productions and the dependency that those methodologies have on a certain fascination that the images exert on the analyst. It is this fascination that comes in play in the choice of a photographic theme for this essay. It explains why this focus on a broader photographic discourse and establishes several parallels between the activities of both photographers and anthropologists. It thus analyzes the advantages that the indexical character of photography brings into the anthropological study, but it warns to the necessity of recognizing the subjective influences at play in the making of a photographic image. It attempts to make evident the benefits that the study of photographic images might bring to the general field of Anthropology. Finally it mentions the limits of such a photographic study.

Elizabeth Edwards

This paper addresses the long history of photographic relationships in anthropology. It argues that the current concerns with multiple, relational and affective meanings in anthropological photographs are not simply the result of new approaches to photographic analysis, but were embedded in the relationships of the production of anthropological evidence in the late nineteenth and early twentieth centuries. Drawing on examples from the British field anthropology it examines, first, the relational histories of production of those photographs, and, second, argues that those relationships have enabled the new ethnographies of photographic engagement that mark late twentieth and twenty-first century anthropological concerns. It argues that photographic ‘affect’ , as a mode of history, memory and identity becomes the focus of anthropological analysis.

Megha Sharma Sehdev

This course explores how photographs can be used as a tool in the writing process. Many well-known writers such as Sigmund Freud kept photographs to help develop theoretical ideas; many more-including Arthur Conan Doyle, Victor Hugo, Emile Zola, and Lewis Carroll – were amateur photographers and used photos to render descriptions of places. Anthropologists, no less, have used photography from the colonial period to the present in order to capture, remember, and analyze aspects of human culture in their fieldsites. In this course we will: 1) acquire basic composition skills in photography; 2) explore how photographs can assist us in developing an anthropological writing practice; 3) examine how photographs interact with writing. A text may strive to "replicate" a photograph, but we will also explore other dynamics between these mediums. When does the analogy between photo and text collapse? What can one medium accomplish that the other cannot? Other themes to be covered will include: rendering a description versus forming an interpretation; the place of sensations and interiority in the creative process, and the role of time and reflection in drafting a photo-text. We will also discuss issues of care and ethics in photographing and describing people, places, and objects. Course Structure: The course will be project-based. You will be introduced to basic photographic composition skills using principles of geometry, framing, and emphasis, and you will use the principles to take photographs of your chosen fieldsite. We will then practice writing descriptions drawing from our fieldnotes. The class will examine particular texts in which visual imagery has been coupled with certain forms of writing; based on these readings, we will experiment with writing techniques. As time goes on, the earlier data and write-ups will be re-visited to see what aspects may have initially escaped our awareness. Thus we will learn to " re-visualize " image and text in an ongoing analytic process. Toward the end, we will work on producing a vision of our individual writing that carries a degree of consistency and a narrative arc. Class website: http://craftinganthropologicaltext.tumblr.com

Christopher Morton

Visual Ethnography Journal -Special Issue

Chiara Scardozzi , Marina Berardi

Ethnography and Photography are founded on relational practices which are based on encounter and storytelling. In such an observation, participation and representation space, these disciplines are configured as two forms of writing with their own methodological specificities, as well as zones of contact. Considering the profound technological changes in the recent decades (such as greater accessibility to photographic devices, the increasing production and circulation of photographs, the diversification of virtual spaces, the new digital ethnography), what are the current links between ethnographic research and photography? What kind of contribution do the visual languages offer to the production of anthropological knowledge? Which kind of relations are established between texts and images? How creative and/or authorial artistic research combines with scientific knowledge? The aim of this issue of Visual Ethnography, edited by Marina Berardi and Chiara Scardozzi, is to generate a critical reflection starting from intersectional points between the two disciplines and the plurality of visions and methods. It is conceived as a moment of thought and comparison on the role and the future of photography in ethnographic research, through a theoretical and visual approach, to start a reasoning about theoretical and practical tools of cultural and social anthropology, considering how photography and/or post-photography and its uses declined through the different devices, in addition to making the research contents visible, can also be considered as a real collaborative practice, methodology of intervention, restitution and/or autonomous authorial narration. The call is open to papers and photo essays focused on experiences of collaborative visual ethnographies that use photography to solicit specific narratives and / or include methods of participatory photography aimed at involving groups and communities in the research and co-production of visual contents; researches that explore the possibilities of creating subjectivity in the online life by sharing new forms of self-representation of the body, gender, identity; reflections that interweave ethics and aesthetics in the representation of otherness ; studies concerning photographic collections that are interpreted through their political and public use and inserted (or censored) within the so-called heritagization processes; researches relating to the most innovative and creative trends in contemporary photography that redefine the boundary between reality and fiction starting from the idea of "post-truth", using different media and methods.

Richard Vokes

Anthrovision

Aleksandra (Ola) Gracjasz

While photography has a long history of being used by anthropologists, not much has been written of the use of anthropology by photographers. Based on my personal experiences of two distinct ethnographic fieldworks, I argue that these two practices, photography and anthropology, overlap in several ways and one can combine the skills, techniques, knowledge, insights, and objectives from the two disciplines. Throughout my master’s and PhD research I was constantly navigating back and forth between my anthropological and photography skills, which led to a blurring of the boundaries between the two. Both practices fed into each other and my anthropological work gained advantage from my photography. Specifically, anthropology can benefit from the art of photography in a way that expands and deepens meanings and ways of looking. In this article, I will provide examples of how I combined these skills and will present my argument in three steps: firstly, I will focus on mediation; how looking through the medium of a camera affects what and how we see. Secondly, following the idea of “the affective lens” developed by Brent Luvaas (2017), I will delve into how photography helped me bridge distance in the field and facilitated an easier engagement with research participants. Finally, I will spend some time explaining the state of “heightened awareness” presented by David MacDougall (2006) and will expand on it by drawing on Jean Rouch’s concept of ciné-transe (Rouch 1978). I will also refer to the concept of kinok by Dziga Vertov as a useful metaphor for understanding the relationship between the camera and the body.

GIS - Gesto, Imagem e Som - Revista de Antropologia

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