photo research project

How To Correctly Document Your Photo Evidence For A Research Project

In the realm of academic and professional research, the inclusion of photo evidence can significantly enhance the credibility and comprehensibility of a study. Well-documented photographs not only support and illustrate findings but also engage the audience, making complex information more accessible.

However, the process of documenting photo evidence is fraught with potential pitfalls, from issues of clarity and relevance to concerns over copyright and ethical considerations. This article aims to provide researchers and students with a detailed guide on correctly documenting photo evidence, ensuring that their visual materials strengthen rather than detract from their research projects.

The Role of Photo Evidence in Research

The power of photo evidence in research cannot be overstated. Across disciplines such as anthropology, environmental science, and the social sciences, photographs serve as tangible proof of phenomena, instances, and scenarios described in textual form. They enable researchers to present their findings in a manner that is not only more engaging but also easier to comprehend and verify.

In the same way that  paper writing services for students strive to clarify and articulate complex ideas through text, properly documented photo evidence can elucidate and affirm the narrative of a research project. However, for photo evidence to fulfill this role effectively, it must be meticulously captured, organized, and presented within the framework of the research.

Preparation: Before Taking Photos

The key to capturing valuable photo evidence begins long before the camera shutter clicks. Preparation is crucial in ensuring that the resulting photographs meet the objectives of the research project. Researchers must first identify the type of equipment that will best suit their needs, whether it’s a high-resolution DSLR camera for detailed shots or a smartphone camera for convenience and immediacy.

Equally important is defining the objectives of the photo evidence: What phenomena or details need to be captured? What story should the photographs tell? By answering these questions, researchers can approach the photography process with clear intentions, ensuring that each shot contributes meaningfully to their study.

Capturing High-Quality Photos

Taking high-quality photographs is essential for producing reliable photo evidence. Researchers should focus on achieving clarity, focus, and appropriate composition in their shots, paying attention to factors such as lighting, angle, and background. Natural light is often preferable for outdoor shots, while indoor photography may require additional lighting sources to avoid shadows and glare.

Capturing multiple angles and perspectives can provide a more comprehensive understanding of the subject. Furthermore, researchers should strive to minimize distractions in the frame, ensuring that the focus remains on the subject of interest. These practices not only improve the aesthetic quality of the photos but also their value as evidence.

Organizing and Storing Photos

Once captured, organizing and storing photos in a systematic manner is critical for maintaining their value as evidence. Researchers should develop a consistent naming convention and categorization system for their files, including meaningful descriptors and dates in file names. Tagging photos with keywords and storing them in categorized folders can facilitate easy retrieval.

Digital storage solutions should be secure and backed up regularly to prevent loss of data. Additionally, keeping a detailed log of each photo, including the date, location, and relevant observations, can provide context and enhance the evidentiary value of the visual material.

Ethical Considerations and Consent

When incorporating photo evidence into research, ethical considerations must take precedence. This is particularly crucial when photographs involve human subjects, sensitive environments, or culturally significant artifacts. Researchers are obligated to obtain informed consent from individuals photographed, ensuring they understand how the images will be used and that their participation is voluntary.

In cases involving vulnerable populations or sensitive locations, additional care must be taken to respect privacy and adhere to ethical guidelines. Furthermore, researchers must navigate copyright laws carefully, ensuring that any third-party images used are properly licensed or fall within fair use parameters. Ethical documentation practices not only protect subjects and researchers legally but also uphold the integrity of the research.

Documenting and Annotating Photo Evidence

The documentation process extends beyond capturing and organizing photos. Each photograph used as evidence should be accompanied by a detailed caption that includes the date, location, subjects involved, and the context of the image. This practice ensures that the significance of each photo is clear to the audience and that the evidence can be independently verified.

Additionally, maintaining a comprehensive log or database with further details—such as camera settings, environmental conditions, and any observations made during the capture—can enrich the photo evidence. When necessary, annotating photos to highlight specific features or points of interest can be valuable, provided the original image remains unaltered and accessible for comparison.

Integrating Photo Evidence into Your Research Project

Integrating photo evidence into a research project requires careful consideration of its relevance and impact on the audience’s understanding. Photos should be presented in a way that complements the narrative of the research, with each image clearly linked to the findings or arguments it supports.

The placement of photos within the text, their size, and the balance between visual and written information are all critical factors in enhancing the comprehensibility and engagement of the research. Proper citation and referencing of photo evidence are also essential, as well as adhering to the academic standards and formats relevant to the field of study. This step ensures that the use of photo evidence is both academically rigorous and respectful of copyright norms.

Documenting photo evidence is a meticulous process that requires careful planning, ethical consideration, and attention to detail. From capturing high-quality images to organizing, annotating, and integrating them into research, each step is vital in ensuring that photo evidence enhances the credibility and impact of a study. As with all aspects of research, the process of documenting photo evidence should be approached with integrity and a commitment to advancing knowledge within the research community.

For those embarking on substantial projects, such as dissertations, understanding the value of properly documented photo evidence can be as crucial as finding reliable dissertation writing services to assist with the textual components of their work. Together, well-crafted text and well-documented photos can create a compelling and comprehensive research project that stands out for its clarity, authenticity, and academic rigor.

Related Articles:

• Elevate Your Photography Skills With 20 Creative & Ingenious Hacks
• 9 Photography Composition Tips From Steve McCurry’s Iconic Photos
• Unlocking The Essence Of Photography Composition Through 15 Captivating Images
• Behind The Scenes: Photographers Sharing How To Shoot The Perfect Shot
• Learning & Tutorials
• Photography Tips
• Photography Tutorials

Related Posts

Why Historical Fashion Items Make Perfect Photography Subjects

Tudo sobre o 20bet: slot machines, apostas e pagamentos.

Tips And Tricks To Prepare For Your Individual Headshot Session

The visual vernacular: embracing photographs in research

• A Qualitative Space
• Open access
• Published: 02 June 2021
• Volume 10 , pages 230–237, ( 2021 )

Cite this article

You have full access to this open access article

• Jennifer Cleland   ORCID: orcid.org/0000-0003-1433-9323 1 &
• Anna MacLeod   ORCID: orcid.org/0000-0002-0939-7767 2  

9892 Accesses

15 Citations

10 Altmetric

Explore all metrics

The increasing use of digital images for communication and interaction in everyday life can give a new lease of life to photographs in research. In contexts where smartphones are ubiquitous and many people are “digital natives”, asking participants to share and engage with photographs aligns with their everyday activities and norms more than textual or analogue approaches to data collection. Thus, it is time to consider fully the opportunities afforded by digital images and photographs for research purposes. This paper joins a long-standing conversation in the social science literature to move beyond the “linguistic imperialism” of text and embrace visual methodologies. Our aim is to explain the photograph as qualitative data and introduce different ways of using still images/photographs for qualitative research purposes in health professions education (HPE) research: photo-documentation, photo-elicitation and photovoice, as well as use of existing images. We discuss the strengths of photographs in research, particularly in participatory research inquiry. We consider ethical and philosophical challenges associated with photography research, specifically issues of power, informed consent, confidentiality, dignity, ambiguity and censorship. We outline approaches to analysing photographs. We propose some applications and opportunities for photographs in HPE, before concluding that using photographs opens up new vistas of research possibilities.

Similar content being viewed by others

Using Visual Methods to Hear Young Men’s Voices: Discussion and Analysis of Participant-Led Photographic Research in the Field

What’s in an Image?: Towards a Critical and Interdisciplinary Reading of Participatory Visual Methods

The Ethics of Visual Research and Participant Empowerment

Explore related subjects.

• Artificial Intelligence
• Medical Ethics

Avoid common mistakes on your manuscript.

A Qualitative Space highlights research approaches that push readers and scholars deeper into qualitative methods and methodologies. Contributors to A Qualitative Space may: advance new ideas about qualitative methodologies, methods, and/or techniques; debate current and historical trends in qualitative research; craft and share nuanced reflections on how data collection methods should be revised or modified; reflect on the epistemological bases of qualitative research; or argue that some qualitative practices should end. Share your thoughts on Twitter using the hashtag: #aqualspace

Introduction

Smartphones, tablets, and other devices are increasingly embedded in everyday life, influencing how many people interact, think, behave and connect with other people [ 1 , 2 ]. Many people Whatsapp, tweet and text, and/or use Facebook, Instagram and Twitter for professional, social, educational and entertainment purposes. Images are increasingly accessed and used where words would have been used in the past. Indeed, more than 10 years ago, van Dijck [ 3 ] suggested that “digital cameras, camera phones, photoblogs and other multipurpose devices are used to promote the use of images as the preferred idiom of a new generation of users.”

The increasing use of digital images for communication and interaction in everyday life has given a new lease of life to a source of research data long embraced by sociology and anthropology [ 4 , 5 ]. In contexts where smartphones are ubiquitous and with groups of “digital natives” asking participants to share and engage with photographs, this aligns with their everyday activities and norms more than textual or analogue approaches to data collection. Thus, it is time to consider fully the opportunities afforded by digital images and photographs for research purposes [ 6 , 7 ].

This paper joins a long-standing conversation in the social science literature which advocates moving beyond the “linguistic imperialism” of text [ 8 ] to embrace visual methodologies. This conversation has relatively recently made its way into health professions education (HPE): for example, various authors have proposed video [ 9 ], video-reflexivity [ 10 ] and drawings [ 11 ] for research purposes. However, the use of still images or photographs in research remains niche to some areas of inquiry (e.g., exploring patient experiences, particularly mental health and experiences of serious illness (e.g., [ 12 , 13 , 14 ]) and some healthcare professions disciplines (e.g., nursing: [ 15 ])), and is an under-exploited approach in HPE research (see below for notable exceptions). Yet it is a method which offers many possibilities, particularly in respect to giving research participants more agency and power in the research process than is the case in traditional qualitative data collection approaches such as interviews.

In this paper, we discuss ways of using photographs in research, focusing on the use of photography within participatory research inquiry. We consider ethical and philosophical challenges associated with photography research, as well as its unique strengths. We outline some popular approaches to analysing photographic data. We finish with a brief consideration of how photographs could be used more in HPE research.

The photograph as data

Photography has been described as a silent voice, another language to communicate with and understand others, and a way of accessing complexities which may not be captured by text or oral language [ 16 ]. As instances of Latour’s “immutable, combinable mobiles” [ 17 ]—literally things which do not change but which carry action and meaning across time and place, as objects of memory and of relationship—photographs allow us to see what was “happening” at a particular point in time.

Photographs can be a source of data (photo-documentation and existing images) and a tool for eliciting data (photo-elicitation and photovoice). Each of these approaches are explained below.

Photo-documentation

Photo-documentation has been used in clinical medicine for nearly two centuries [ 18 ] Clinical photographs and images are vital for training purposes, to illustrate a clinical finding, steps in a process or procedure, or for comparative (“before” and “after”) purposes. They are an integral part of patient’s clinical notes in numerous specialties and are also used to offer the patient insight into realized or expected treatment results [ 19 ].

This way of using photographs—as objective records documenting an objective something—is quite different from how photographs are used in social science research. In fields such as sociology and social anthropology, photography has been used as a tool for the exploration of society [ 4 , 5 ]. Photographs help others understand how societies are culturally and socially constructed, to critically uncover the meaning people place on certain activities, places, things and rituals and to record and analyse important social events and problems. It is on this second use of photographs in research that we focus from this point onwards.

Existing images

A second way of using photographs in research is analysis of publicly available images: in other words, analysis of secondary (photographic) data. There are examples of this approach in medical education in relation to the messages given by images on public-facing documents and webpages, and how these might influence student choice of medical school [ 20 , 21 ]. Visual data is also used in research examining the relationships between architecture/space and learning [ 22 , 23 ]. Photographs can show us how people and things relate to each other. For example, what can we learn from a photo illustrating how staff are distributed around a coffee room, or around the table during a morbidity and mortality (M&M) meeting? Documenting the materials of a research space in a photograph serves as a mechanism for tracing the complexity of the field (see Fig.  1 and its accompanying explanation).

A photograph as an elicitation tool. Collected as part of a sociomaterial study to document the material complexity of simulation led by MacLeod. This photograph of a manikin in a typical simulation suite could serve as a useful elicitation tool in a study of simulation. Rather than asking research participants to use their memories to imagine a simulation suite, the photograph provides concrete detail, helping to reorient participants to the space. Rather than using a phrase like “simulation is complex”, the photograph serves as “evidence” of the complexity, documenting multiple non-human elements involved in a simulation at a particular time and place. This clarity can provide a jumping-off point for more detailed and specific conversations about the topic being studied

Photo-elicitation

In photo-elicitation (sometimes called photo production [ 24 ] or auto-photography), the specific area of focus is typically decided by the researcher. The photos are either taken by the researcher or participants.

In researcher-driven photo-elicitation the researcher decides on what people, objects, settings and/or scenes they find interesting or potentially important enough for a picture. These photographs are then used as prompts for discussion within an interview with the researcher. The photo(s) is a prompt to elicit data, akin to an open question in a semi-structured interview. Unlike interview or focus group questions however, participants not only respond to photographs with extended narratives but also supply interpretations of the images, drawing from and reflecting their experiences.

In participant-driven photo-elicitation, control of data collection is handed over to participants who have the freedom to pick and choose the representation(s) which is most salient to them in relation to the question under study. For example, to explore children’s experiences of hospital, Adams and colleagues [ 25 ] asked children to photograph architectural or design features that most interested them in a vast hospital atrium (the hospital’s primary non-medical space, full of shops, restaurants and so on). The children’s photographs were then used as the anchor to dialogue [ 26 ].

Participant-driven photo-elicitation empowers the participant to both choose the image and drive the dialogue about the image. Consider a picture of an alarm clock set to an early hour. This becomes meaningful only when the photographer explains that this image signifies their transition from student to first trained job. While the participant’s perspective on the transition to practice could potentially be accessed using traditional words-alone methodologies, photographs are different because they present what the participant felt was worthy to record, help capture the immediacy of the experience and stimulate memories and feelings. In other words, one of photo-elicitation’s strengths, and how it differs from interviews and focus groups, is its potential to collect data that not only taps into the perspective of the participant but does so at the time of the experience.

Images seem to prompt a different kind of reflection on lived experiences. Harper [ 26 ] suggests that images prompt emotions and thoughts in ways that narrative alone cannot. By seeing what they did, informants may help the researcher to better understand their behaviour. Moreover, by viewing and discussing photos together, the researcher and participant actively co-construct meaning. In this way photo-elicitation offers a way to potentially enrich and extend existing interview methodologies and give a combination of visual and verbal data for analysis purposes [ 27 ]. Furthermore, the act of interpreting an image creates a critically reflective space within the research process which is lacking in interview methods. Leibenberg suggests that “collectively then, images introduced into narrative research create important links that participants can use to more critically reflect on their lived experiences and to more accurately discuss and share these experiences with others” [ 28 , p. 4].

Arguably however, if the main source of data is not the photographs themselves but the transcripts from photo-elicited discussions, this may still privilege participants who are more skilled verbally—maintaining the “linguistic imperialism” of text, or, more accurately, of transcribed responses [ 8 ]. While this criticism cannot be wholly dismissed, the many empirical studies referred to in this paper suggest that photographs help make abstract ideas accessible and encourage reflection in groups which are less literate and who do not routinely engage in reflection. Moreover, there are approaches to data analysis which privilege the image, not the accompanying text (see below).

A specific research method within the bracket of photo-elicitation is photovoice. Developed by Wang and Buriss in 1997, photovoice involves asking community members to identify and represent their community through specific photographs and tell the stories of what these pictures mean, promoting critical dialogue and potentially catalysing social action and change [ 29 ]. Photovoice allows people to see the viewpoint of the people who live the lives, and as such is considered an example of participatory research [ 30 ]. For example, MacLeod et al. [ 31 ] asked adolescent youth to take photographs pertaining to the health of their community. The adolescents created a platform for discussion, and helped the researchers, who were medical students, learn about the community they were serving. Photovoice is often used to access and explore patient experiences, particularly mental health and experiences of serious and/or life-threatening illness [ 12 , 13 , 14 ].

The ease of taking photographs with a mobile phone has opened up new ways to utilise the photovoice methodology, particularly the method of “time-space diaries” [ 32 ] or digital journals. Participants record what is meaningful to them across time and activities, such as what and where they ate over a full day, or salient events in the first few weeks of medical school. Just like non-research social media activity, a series of images can provide insight into real, lived experiences and give participants a voice to reflect on their everyday lives on issues relevant to the research topic. Consider a resident taking pictures of things and people who were significant to their first experience of a full weekend shift. The nature of the images may change over time, reflecting exposure to different patients, working with different colleagues, task demands and fatigue.

In summary, the nature of photographs as data varies according to who produces them, whether they are independent of the research or created specifically for the research, how they are used in the research process and whether they are used in conjunction with narrative (verbal) data. These key decisions can be synthesised, according to Epstein et al. [ 33 ], into three basic questions:

Who is going to make or select the images to be used in the interviews?

What is the content of the images going to be?

Where are the images going to be used, and how?

How photographs and accompanying narratives can be analysed is discussed next.

Data analysis

There are two main ways of approaching photographic data analysis. The first, the dialogic approach, focuses on analysing the verbal or written reflection on the content of photographs and what they symbolise. This approach is fundamentally constructivist, “locating visual meaning as foundational in the social construction of reality” [ 34 , p. 492]. Traditional ways of analysing verbal/transcribed data such as thematic analysis [ 35 ], content analysis [ 36 ], grounded theory [ 37 ] and various forms of discourse analyses [ 38 ] are appropriate for analysis of photograph-prompted dialogue. In this approach, the photographs themselves are usually used merely for illustration purposes, if at all [ 38 ].

Alternatively, the data can be within the photograph itself, separate from its capacity to generate dialogue and independent of any explanation. Photographs can provide new ways of seeing the phenomena under study from their visual features. For example, in their analysis of existing images on medical school websites and prospectuses in 2019, MacArthur, Eaton and Marrick [ 21 ] recorded information including gender, ethnicity, assumed role and setting, of each person on each image. They found a predominance of hospital-themed images, compared to few community-themed images. They concluded that these images signalled to students a strong preference for hospital-based settings, despite a strong national drive to recruit more general practitioners.

This approach to analysis is referred to as “archaeological” because images inherently reflect the social norms of a point in time. Consider your graduating class photograph. Clothes and hairstyles which were chic at the time may look old-fashioned and incongruous when viewed many years later. In this way, photographs contain “sedimented social knowledge” [ 34 , p. 502], manifest through the photographer’s choices of scenes, subjects, styles, compositions and so on. An educational example of this is presented in Photograph S1, found in the Electronic Supplementary Material (ESM).

Grounded, visual pattern analysis (GVPA) combines both approaches [ 39 ]. Via a structured, multi-step process of analysis, GVPA investigates the meanings individual photographs have for their photographers and also attends to the broader field (sample) level meanings interpreted from analysis of collections of photographs. Paying attention to absence (what is not photographed) is also important [ 40 ]. The analysis process ends by building conceptual contributions rather than purely empirical ones from the photographic data (see Photograph S2 in ESM).

Whichever analysis approach is taken, as with any qualitative research, it is important to consider quality and rigour in respect to the credibility, dependability, confirmability and transferability of the data [ 41 ]. Providing details of the sampling strategy, the depth and volume of data, and the analytical steps taken helps ensure credibility and transferability. Photo-elicitation allows participants to work with and direct the researcher to generate data that is salient to them, thereby increasing the confirmability of research outcomes. Allowing participants to clarify what they meant to convey in their photographs is inherently a form of member checking. As for all research, ethical considerations should be considered and addressed, as well as a clear statement made on formal research ethics committee approval or waiver. Thought must be given to the power relationship between researcher and participants and how this might affect recruitment, the nature of the data and so on. Reflexivity, reflecting on the extent to which similarities or differences between researcher and researched may have influenced the process of research, is particularly critical in photo-elicitation studies [ 42 ]. Keeping written field and methodological notes as well as a reflexive diary is important for dependability and confirmability.

Finally, in terms of data presentation, in our discipline most journals have a limit on the number of tables, figures and/or images allowed per paper, and most do not publish colour photographs. This limits the visual data which can be presented in an article. However, journals also offer the option of supplementary e‑files. We suggest that one or two pictures in an article can support key evidential points, with additional data made available electronically.

Ethical considerations associated with photographs in research

As with any method, care must be taken to ensure the proper use of photographs for research purposes. Here we briefly consider the main ethical issues of power, informed consent, anonymity, dignity and image manipulation. We direct readers to Langmann and Pick [ 43 ] for more in-depth discussion.

In any researcher/participant situation, there is a power dynamic that privileges the “expert” researcher over the object of study, the participant. Certain ways of using photographs in research, specifically photo-elicitation, can change this dynamic and empower participants by giving them an active role in the research process, making them the experts, and allowing the researcher greater insight into participant perspectives [ 29 , 30 ]. Photo-elicitation also gives those who are not verbally fluent another way to express themselves effectively, avoids the use of survey questionnaires and other research instruments that might be culturally biased, and places participants as equals—able to reflect and decide how they want to represent themselves visually [ 43 ]. Photo-elicitation is thus firmly rooted in an approach to inquiry that draws on Paulo Freire’s (1970) critical pedagogy [ 44 ] and fits within the broader participatory action research method [ 29 , 30 , 37 , 38 , 39 , 40 , 45 ].

The use of mobile phones for data collection is considered a way of connecting younger groups with research [ 46 ], connecting with populations in more remote and rural communities across the globe [ 47 ] and with “difficult to reach” populations (e.g., [ 14 ]). However, it is important to again acknowledge the “digital divide” and the associated power differential: marginalised populations and certain societal groups may not have access to equipment to take and share photographs. Where this is the case, the researcher must consider whether to supply the necessary equipment or whether an alternative method of data collection is more feasible.

Informed consent

Informed consent is particularly challenging with photographs. It is difficult to ensure that every person in an image has given their consent to the photo being taken and used for research purposes. Where images are participant-generated, clear instructions about the purpose of the research and the photographs, and the processes of ethical consent, are essential [ 48 ].

Confidentiality

Confidentiality is an issue, particularly if a photograph includes a person’s face. Faces can be pixelated or blurred to protect participants’ identities, but these approaches may objectify the people in the photo and make the photographs less powerful [ 48 ].

Our third point relates to dignity. Langmann and Pick [ 43 ] suggest three ways of considering dignity in research photography: being sensitive to the social and cultural norms of the communities being researched, being aware that those who are the focus of the research will benefit by the presentation of an authentic view of the situation and considering the impression the photograph will give if and when it is published. In all cases, it is the researcher’s responsibility to exclude photographs which are not covered by ethical approvals, as well as any potentially harmful or compromising photographs.

Photographs can mean different things to different people [ 24 , 49 ] and meanings may change over time, depending on context and how they are associated in terms of text and other images (for example, one’s interpretation of a photograph taken as a teenager is likely to differ when viewing it as an adult). This ambiguity makes some researchers uncomfortable. However, if one takes a social constructivist stance, that we live in a multi-reality world, then this possibility of multiple meanings from a photograph adds to the data.

Conscious and unconscious “self-censorship”, including when, where or what to photograph, or editing a photo to convey an intended message, is inherent in photo-elicitation [ 45 ]. However, self-censorship is not an issue if one accepts that the purpose of photo-elicitation is to access the social reality of another individual.

Strengths of using photographs in research

Participation and co-construction.

As mentioned earlier, photo-elicitation and photovoice maximise opportunities for participant agency and engagement in the research process, allowing participants to work with and direct the researcher. Furthermore, in dialogic approaches, research involves a joint process of knowledge-production where narratives are co-constructed between participant and researcher through discussion. By using participant-driven photographs, the researcher gains an understanding of what the content of the photos means to the participants without imposing their own framework or perception of a topic on the process.

Participatory research requires trust, a safe space between participant and researcher, so people can express their thoughts and views. Wicks and Reason [ 50 ] suggest that establishing this safe space must be considered throughout the research process: empowering participants in the earlier stage of the research process can also build the connection and trust between researcher and participant—and reduce participant inhibition later on. This may be particularly useful where the topic is sensitive or taboo. For example, Meo [ 51 ] reported photo-elicitation was useful in tapping “class and gendered practices” (p. 152) in greater depth than with interviews alone.

Giving power to participants within the research process can be challenging for researchers. Adjusting to participants as co-researchers may be new and unfamiliar. Continuous flexibility and reflexivity on a personal (e.g., personal assumptions, values, experiences, etc. that shape the research) and epistemological (e.g., the limits of the research that are determined by the research question, methodology and method of analysis) considerations are critical [ 52 ].

Photographs provide structure to an interview, giving the researcher something to return to, to elicit more detailed discussions and/or trigger memories and reflection [ 53 ]. In addition, participants often give information about people or things outside of the photo (the invisible) as well as on who and what are visible [ 52 ]. Similarly, the researcher may be able to access parts of participants’ lives that would be difficult to see into otherwise. For example, Bourdieu argues that visual methods of research may be particularly helpful in investigating habitus, ways of being, acting and operating in the social environment that are “beyond the grasp of consciousness” [ 54 , 55 ].

Snapshots in time and of space

As mentioned earlier, photographs are inherently snapshots in time. They also provide snapshots of space, a means of examining the material assemblages of space, of how things are ordered and used [ 56 ]. For example, a photo of students in a learning space would illustrate who sits with whom, the spatial relationships between humans (e.g., student and student, students and teachers) and the non-human (e.g., bags, laptops, phones, snacks) (see Fig.  2 as an example).

An example of a photograph representing the assemblage of time and space: Students distributed in the space of a contemporary learning suite. Photograph from a publicly facing webpage on a medical school website. This photograph provides an example of how a photograph captures space and time. It provides a glimpse at a contemporary medical school. The photograph serves to document the complexity of modern medical schools, making clear the digitized learning environment. Such a photograph might evoke emotion and a sense of progress, in particular, when contrasted with more traditional images of students learning in a stadium-style lecture theatre

Applications and opportunities

Looking forward, we encourage researchers to consider the use of photographs as a source of data, as a way of accessing data that might otherwise have been obscured or overlooked if we had relied solely on language-based data. We encourage readers to consider what might be learned were we to augment current understanding by incorporating photographic data sources into healthcare professions research. In Table S1, found in ESM, we suggest some outstanding research questions and topics that could be explored. The list found there is by no means exhaustive. Rather it reflects our own interests and observations and should be regarded as a springboard to help readers consider diverse ways in which photographs may add richness in research endeavours.

There are many ways of conducting qualitative research in health professions education research (HPER). All have their affordances and limitations. In this article, we have offered a critical examination of how photographs can be used to generate rich and potentially different data to that generated through talk-only data collection. Using photographs in HPER research opens up new vistas of research possibilities, whether as a means of accessing snapshots of people and situations in time and space and/or as a means of engaging participants collaboratively, to explore taken-for-granted lived experiences which may not otherwise be accessible. This is a fertile area for future research and the empirical potential is vast, ranging from reflective practice to widening participation to questions which are as yet unknown.

Couldry N, Hepp A. The mediated construction of reality. Cambridge: Polity Press; 2016.

Google Scholar  

DeLuca K. Images, audiences, and readings. In: Manghani S, Piper A, Simons J, editors. Images: a reader. London: SAGE; 2006.

van Dijck J. Digital photography: communication, identity, memory. Vis Commun. 2008;7:57–76.

Article   Google Scholar  

Bateson G, Mead M. Balinese character: a photographic analysis. Special publications of the New York Academy of Sciences, Vol. 2. 1942.

Becker HS. Photography and sociology. Stud Anthropol Vis Commun. 1974;1:3–26.

Paulus T, Jackson K, Davidson J. Digital tools for qualitative research: disruptions and entanglements. Qual Inq. 2017;23:751–6.

van Doorn N. Assembling the affective field: how smartphone technology impacts ethnographic research practice. Qual Inq. 2013;19:385–96.

Mirzoeff N. An introduction to visual culture. London: Routledge; 1999.

Skinner J, Gormley GJ. Point of view filming and the elicitation interview. Perspect Med Educ. 2016;5:235–9.

Iedenma R. Creating safety by strengthening clinicians’ capacity for reflexivity. BMJ Qual Saf. 2011;20:83–6.

Cristancho S, Helmich E. Rich pictures: a companion method for qualitative research in medical education. Med Educ. 2019;53:916–24.

Chew JHS, Lopez V. Empowered to self-care: a photovoice study in patients with heart failure. J Transcult Nurs. 2018;29:410–9.

Park J, Han JW, Choi JH, Lee KC. Photovoice-based assessment of weight management experiences of breast cancer patients treated with Tamoxifen. Int J Environ Res Public Health. 2020;17:4359.

Thompson N, Hunter EE, Murray L, Ninci L, Rolfs EM, Pallikkathayil L. The experience of living with chronic mental illness: a photovoice study. Perspect Psychiatr Care. 2008;44:14–24.

Riley R, Manias E. The uses of photography in clinical nursing practice and research: a literature review. J Adv Nurs. 2004;48:397–405.

Walker R. Finding a silent voice for the researcher: using photographs in evaluation and research. In: Schratz M, editor. Qualitative voices in educational research. London: Routledge; 1993.

Latour B. Science in action: how to follow scientists and engineers through society. Cambridge: Harvard University Press; 1987.

Harting M, DeWees JM, Vela KM, Khirallah RT. Medical photography: current technology, evolving issues and legal perspectives. Int J Clin Pract. 2015;69:401–9.

DiBernardo B, Adams RL, Krause J, Fiorillo MA, Gheradini G. Photographic standards in plastic surgery. Plast Reconstr Surg. 1998;102:559–68.

Chowdhury S, Chowdhury R, Sandars J. A picture is worth a thousand words: the use of visual imagery in medical school application prospectuses in the UK. Med Teach. 2009;31:463–4.

MacArthur J, Eaton M, Mattick K. Every picture tells a story: content analysis of medical school website and prospectus images in the United Kingdom. Perspect Med Educ. 2019;8:246–52.

Hawick L, Cleland JA, Kitto S. ‘I feel like I sleep here’: how space and place influence medical student experiences. Med Educ. 2018;52:1016–27.

Nordquist J, Kitto SC, Peller J, Ygge J, Reeves S. Focusing on future learning environments: exploring the role of space and place for interprofessional education. J Interprof Care. 2011;25:391–3.

Radley A. What people do with pictures. Vis Stud. 2010;25:268–79.

Adams A, Theodore D, Goldenberg E, McLaren C, McKeever P. Kids in the atrium: comparing architectural intentions and children’s experiences in a paediatric hospital lobby. Soc Sci Med. 2010;70:658–67.

Harper D. An argument for visual sociology. In: Prosser J, editor. Image-based research. London: Routledge; 1998.

Collier JJ, Collier M. Visual anthropology: photography as a research method. Albuquerque: University of New Mexico Press; 1986.

Liebenberg L. Thinking critically about PhotoVoice: achieving empowerment and social change. Int J Qual Methods. 2018;17:1–9.

Wang C, Burris MA. Photovoice: concept, methodology, and use for participatory needs assessment. Health Educ Behav. 1997;24:369–87.

Satcher D. Foreword. In: Israel B, Eng E, Schulz AJ, Parker EA, editors. Methods in community-based participatory research for health. San Francisco: Jossey-Bass; 2005.

MacLeod A, Jaiswal D, To MJ, et al. Twelve tips for medical students to facilitate a Photovoice project. Med Teach. 2016;38:981–6.

Volpe CR. Digital diaries: new uses of PhotoVoice in participatory research with young people. Child Geogr. 2019;17:361–70.

Epstein I, Stevens B, McKeever P, Baruchel S. Photo Elicitation Interview (PEI): using photos to elicit children’s perspectives. Int J Qual Methods. 2006;5:1–11.

Meyer R, Höllerer MA, Jancsary D, van Leeuwen T. The visual dimension in organizing, organization, and organization research: core ideas, current developments, and promising avenues. Acad Manag Ann. 2017;7:489–555.

Braun V, Clarke V. Using thematic analysis in psychology. Qual Res Psychol. 2006;3:77–101.

Margolis E, Rowe J. Methodological approaches to disclosing historiographic photographs. In: Margolis E, Pauwels L, editors. The SAGE handbook of visual research methods. London: SAGE; 2011.

Chapter   Google Scholar  

Drew S, Guillemin M. From photographs to findings: visual meaning-making and interpretive engagement in the analysis of participant-generated images. Vis Stud. 2014;29:54–67.

Rose G. Visual methodologies: an introduction to researching with visual materials. London: SAGE; 2012.

Shortt H, Warren S. Fringe benefits: valuing the visual in narratives of hairdressers’ identities at work. Vis Stud. 2012;27:18–34.

Holm G. Photograph as a research method. In: Leavy P, editor. The Oxford handbook of qualitative research. New York: Oxford University Press; 2014.

Guba E, Lincoln YS. Paradigmatic controversies, contradictions, and emerging confluences. In: Denzin NK, Lincoln YS, editors. The Sage handbook of qualitative research. London: SAGE; 2005. pp. 191–215.

Richard VM, Lahman MKA. Photo-elicitation: reflexivity on method, analysis, and graphic portraits. Int J Res Method Educ. 2015;38:3–22.

Langmann S, Pick D. Ethical considerations in photography as a research method. Singapore: Springer; 2018.

Book   Google Scholar  

Freire P. Creating alternative research methods: learning to do it by doing it. New Delhi: Society for Participatory Research in Asia; 1982.

Pain H. A literature review to evaluate the choice and use of visual methods. Int J Qual Methods. 2012;11:303–19.

Wilkinson S. Hold the phone! culturally credible research ‘with’ young people. Child Geogr. 2016;14:232–8.

Gwaka L. Digital technologies and youth mobility in rural Zimbabwe. Electron J Inf Sys Dev Ctries. 2018;84:e12025.

Wiles R, Coffey A, Robison J, Prosser J. Ethical regulation and visual methods: making visual research impossible or developing good practice. Soc Res Online. 2012;17:8.

Barthes R. Camera lucida: reflections on photography. New York: Hill and Wang; 1981.

Wicks P, Reason P. Initiating action research: challenges and paradoxes of opening communicative space. Action Res. 2009;7:243–63.

Meo AI. Picturing students’ habitus: the advantages and limitations of photo-elicitation interviewing in a qualitative study in the city of Buenos Aires. Int J Qual Methods. 2010;9:149–71.

Borg M, Karlsson B, Kim HS, McCormack B. Opening up for many voices in knowledge construction. Forum Qual Soc Res. 2012;13:1.

Clark-Ibanez M. Framing the social world with photo-elicitation interviews. Am Behav Sci. 2004;47:1507–27.

Bourdieu P. Photography: the middle-brow art. Cambridge: Polity Press; 1990.

Sweetman P. Revealing habitus, illuminating practice: Bourdieu, photography and visual methods. Sociol Rev. 2009;57:491–511.

Fenwick T, Edwards R, Sawchuk P. Emerging approaches to educational research: tracing the sociomaterial. London: Routledge; 2011.

Download references

Acknowledgements

This paper was inspired by JC’s move to Singapore, a society which uses photographs rather than text in all spheres of life—as proof of payment or parcel delivery, to illustrate a point, to share information, to advertise an event, etc.

The authors neither sought nor received any funding for this project.

Author information

Authors and affiliations.

Lee Kong Chian School of Medicine, Nanyang Technological University Singapore, Singapore, Singapore

Jennifer Cleland

Division of Medical Education, Dalhousie University, Halifax, NS, Canada

Anna MacLeod

You can also search for this author in PubMed   Google Scholar

Contributions

JC suggested and coordinated this collaborative effort, initiated the writing outlines and drafts. AM helped create and revise outlines and drafts. Both authors contributed significantly to the intellectual contents, gave approval of the version to be published and agree to be accountable for the work.

Corresponding author

Correspondence to Jennifer Cleland .

Ethics declarations

Conflict of interest.

J. Cleland and A. MacLeod declarethat they have no competing interests.

Ethical standards

This is not applicable as no human or animal subjects were involved in the creation of this paper.

Supplementary Information

40037_2021_672_moesm1_esm.jpg.

Table S1 Potential applications and opportunities for using photographs in qualitative HPE research. This is arranged by area of Interest (e.g., simulation), potential research question, philosophical underpinnings, methodology, method and analysis for ease

40037_2021_672_MOESM2_ESM.jpg

An archeological example of the complexity of distributed medical education. Taken in the audio-visual control room of a video-conferenced medical education program (from MacLeod’s photograph research cannon)

40037_2021_672_MOESM3_ESM.docx

This example features a photograph from a publicly facing webpage on a medical school website. The combination of the photograph and its accompanying text would lend itself well to a Grounded Visual Pattern Analysis (GVPA)

Rights and permissions

Open Access This article is licensed under a Creative Commons Attribution 4.0 International License, which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence, and indicate if changes were made. The images or other third party material in this article are included in the article’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the article’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. To view a copy of this licence, visit http://creativecommons.org/licenses/by/4.0/ .

Reprints and permissions

About this article

Cleland, J., MacLeod, A. The visual vernacular: embracing photographs in research. Perspect Med Educ 10 , 230–237 (2021). https://doi.org/10.1007/s40037-021-00672-x

Download citation

Received : 28 October 2020

Revised : 25 March 2021

Accepted : 21 April 2021

Published : 02 June 2021

Issue Date : August 2021

DOI : https://doi.org/10.1007/s40037-021-00672-x

Share this article

Anyone you share the following link with will be able to read this content:

Sorry, a shareable link is not currently available for this article.

Provided by the Springer Nature SharedIt content-sharing initiative

• Health professions research
• Visual data
• Photographs
• Find a journal
• Publish with us
• Track your research

• Online magazine

Investigating important issues

Impact report.

• Impact Report 2023: Our regional strategy gains momentum  
• Impact Report 2022: Focusing on the ‘world’ in World Press Photo 

Technical Reports

The Technical Report series makes public data related to issues of diversity, representation, and verification in the annual World Press Photo Contest.

• Technical Report 2024
• Technical Report 2021
• Technical Report 2020
• Technical Report 2019
• Technical Report 2018
• Technical Report 2017
• Technical Report 2016

Starting from 2022, data previously included in the Technical Report is now be part of the Impact Report (see above section).

Previous Research

The state of news photography.

The State of News Photography series (2015 - 2018) presents information about the world’s professional photographic community, with a special focus the lives and livelihoods of photojournalists in the digital age. It is a research project conducted by the University of Stirling in the UK and the World Press Photo Foundation and is based on a survey of entrants to the World Press Photo Contest. In 2015 and 2016 the reports focused on survey results from those years. In 2018 the report is based on an overview of the online survey of professional photographers who entered the annual World Press Photo Contest in the four years between 2015 and 2018 and contains new data on the demographics and identities of that population.

• The State of News Photography 2018 report
• The State of News Photography 2016 report
• The State of News Photography 2015 report

Integrity of the Image report 

The Integrity of the Image Report (November 2014) examines the current practice and internationally accepted standards concerning the manipulation of still images in photojournalism, concluding with a review of the challenges for verification.

Multimedia Research Report 

The Multimedia Research Report (April 2013) examines the current practices in multimedia against the background of the disruption in the traditional media economy, and the revolution in how people consume news.

We use cookies to analyse the use of our website, identify individual preferences after obtaining your explicit consent, and enhance your user experience.

By agreeing, you are giving us consent to set cookies and accept our Cookie Policy .

How to Find and Choose the Best Images for Your Project

To spot high-quality images, you’ll need to draw on your basic visual literacy skills.

As we’ve been learning in this visual literacy column , images tell stories. From photographs to illustrations to maps, they offer glimpses into moments beyond our reach and help us better understand our world. Delving into a variety of visual materials, we’ve learned to recognize the elements that make up an image—such as composition , color , and symbolism —and understand how each contributes to an image’s overall interpretation or significance. Developing visual literacy skills such as these enhances our understanding and appreciation of all images—those we seek out intentionally and those we encounter by chance: a billboard passed during a commute, an image in a newspaper article, a photo shared on social media. It also helps us sort through and evaluate the quality of the images we see and make choices about which images are relevant for our specific purpose.

To take the next step in our journey towards visual literacy, we need to know where to find high-quality images that meet our research needs and what questions to ask about the images we decide to use.

Why Do You Need the Image?

When beginning to look for images or other visual material, it’s important to first understand the nature of your need, to ask yourself why you’re seeking out images in the first place. You might be using them to learn more about a current topic or to research different perspectives on a topic. Alternatively, you might simply be looking for something visually appealing or interesting to inspire you. Depending on your end goal, the types of images and places you’ll look are different.

What is the Topic You are Exploring?

When it comes to recognizing what kind of visual information you need to better understand a topic, it’s important to consider contextual factors such as the age and material of the image. A painting of a king in regalia from a historical period might offer valuable insights into the culture and customs around royalty of that time. Conversely, a more recent image of the same garments on display provides access to greater detail about the king’s clothing but loses some of the historical context and emphasis provided by the artist.

Age also affects the kind of information you can glean from an image. Are you attempting to understand a historical moment? Images produced at that time will provide something closer to a firsthand account, influenced by contemporaneous beliefs and contexts, while an image created much later will be interpreting and reflecting that moment with the benefit of hindsight.

Consider also the genre or format of image you are seeking. Different media types , such as photographs, illustrations, or infographics, can offer different information about a topic. For example, an infographic might provide a succinct summary of complex data while a photograph might offer a window into a specific event or moment. A work of art may provide a more emotional or visceral connection to a particular topic.

Who Made the Image?

It’s crucial to build an understanding of authorship and different perspectives. Think about who is creating and sharing the images and what their goals and motivations might be. We may also consider the creator’s personal beliefs, the context in which the image was created, and other factors that may shape an image.

We’ve discussed authorship in the context of bias and seeking multiple viewpoints , but it’s also beneficial to consider when you’re determining where to look for images. When seeking visual information, we often need a particular perspective.

Where Should You Look for Quality Images?

Just like finding images from various types of creators yields distinct results, you get different kinds of images depending on where you look for them. Although there are innumerable image resources available and easily accessible online, it’s important to seek out reliable and high-quality sources. These aren’t necessarily difficult to find and are usually free to use. Depending on your need, resources might include stock photo websites, public domain image collections, institutional archives—like museums or universities —and more. It’s also important to consider the context in which the image will be used, as certain sources might not allow for commercial use or might require attribution.

There are many resources available that provide access to high-quality images online, including:

• The Library of Congress has a vast collection of digitized images—including photographs, maps, and prints—from its own collections as well as other institutions. The images cover a wide range of topics, including American history, world cultures, and science and technology.
• AP Newsroom offers a vast archive of contemporary and historical news photos, covering a wide range of events and subjects from around the world. With a focus on journalism, this resource provides a window into the major news events of the past and present.
• Europeana is a digital library of cultural heritage collections from across Europe, including images, videos, and audio recordings.
• Getty Images is a commercial stock image company that also offers a large selection of historical images, including photographs, illustrations, and artwork. While not all images are free, Getty Images offers a substantial selection of images that can be licensed for use in research and educational settings.
• Digital Public Library of America provides access to millions of digitized materials from libraries, archives, and museums across the United States. It includes a collection of historical images, including photographs, maps, and documents.
• Asia Art Archive collects and provides access to materials related to contemporary art and visual culture in Asia, including photographs, documents, and artworks.
• Digital South Asia Library , from the University of Chicago, provides access to digital materials related to South Asia, including historical photographs, manuscripts, and books from the nineteenth and twentieth centuries. In addition, the South Asia Open Archives (SAOA) is a collaborative, open-access resource for research, teaching, and learning about South Asia.
• Trove , provided by the National Library of Australia, includes a large collection of digitized historical images, including photographs, artworks, and maps, from Australia and the Pacific region covering a wide range of topics, including Australian history, culture, and society.
• Openverse is a Creative Commons search engine that allows users to find and use openly licensed images and other media for a variety of uses.

These are just a few examples of online resources that provide access to historical and contemporary images from across the world. Some of these and many other historical collections are also part of JSTOR Collections , providing an access point to explore a wide variety of visual material that you likely won’t find through Google. Exploring these and other sources can broaden your perspective on historical topics and discover unique images that can enhance your research.

By forming a clearer understanding of your initial needs as well as the likely context and sources in which relevant images may be found and used, you can better identify and locate the types of images that will best serve you. Actively seeking out reliable and high-quality sources will ensure that the images you use are accurate, ethical, and effective in enhancing your understanding of a topic.

In the next article, we’ll dive deeper into strategies for effectively finding the best images. In the meantime, try exploring JSTOR Collections and considering which of the images you find there might meet your research needs.

Support JSTOR Daily! Join our new membership program on Patreon today.

JSTOR is a digital library for scholars, researchers, and students. JSTOR Daily readers can access the original research behind our articles for free on JSTOR.

Get Our Newsletter

Get your fix of JSTOR Daily’s best stories in your inbox each Thursday.

Privacy Policy   Contact Us You may unsubscribe at any time by clicking on the provided link on any marketing message.

More Stories

• The Bawdy House Riots of 1668

• The Curious History of Competitive Eating

“The Crocodile,” Dostoevsky’s Weirdest Short Story

Writing Online Fiction in China

Recent posts.

• Back to School
• The Sovereignty of the Latter-day Saints
• The Shrewd Business Logic of Immigrant Cooks

Support JSTOR Daily

Sign up for our weekly newsletter.

• Nashville State Community College
• Research Guides

Photography

• Photography Research Project
• Find Articles
• Find Websites
• Image Copyright
• Citing Sources of Images
• Image Search Engines

Need immediate assistance?

Ask the Library

Research Questions?

Records of library chats and texts are saved to ensure quality of service. Please do not include personal information.

Use the tabs on the left to navigate through finding historical and biographical research as well as finding and using images from specific genres, time periods or from specific photographic artists to complete your History of Photography Research Project. 

All the above images were located using the image collections, search engines, websites and other resources listed in this guide.

L to R:  Boys Evacuate with Gas Masks, the Telegraph , 1939, Imperial War Museum; Margaret Bourke-White, Wind Tunnel Construction , Peck Dam, 1936; Lewis Hine, Group of Breaker Boys , Pittston, Pennsylvania, 1911; Javier Salguero, Tower Roof Abstract Ceiling , Pixabay, 2012

• Next: Find Books >>
• Last Updated: Jul 31, 2024 4:22 PM
• URL: https://nscc.libguides.com/photography

• Utility Menu

imagine open access to 25 million images

Unlocking a century of research, rethinking old methodologies, transforming art historical research, streamlining image discovery, report: ip working group on international copyright.

In March of 2020, the PHAROS consortium hosted a workshop at the Paul Mellon Centre (partially funded through a grant by the Samuel H. Kress Foundation) focussing on international copyright and photo archive collections.  The workshop included PHAROS institutional members and invited legal and IP experts from the United States, the European Union, and from the United Kingdom. This public report, created by the PHAROS IP Working Group, is the written product of that workshop.

PHAROS receives an Andrew W. Mellon Foundation Grant

In Spring of 2019, the PHAROS consortium successfully applied for and received a grant from the Andrew W. Mellon Foundation to fund a 30-month Pilot Project to create a research platform using the ResearchSpace software that will make available over 1.5 million images of works of art with accompanying scholarly documentation from five of the fourteen PHAROS member institutions. The five pilot institutions that will be part of the project are: Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence; Biblioteca Hertziana Max-Planck Institut für...

Meeting of PHAROS: The International Consortium of Photo Archives. The Hague, RKD, October 8, 2018

On October 8 th , 2018, twelve of the fourteen PHAROS institutions gathered for a meeting at the Rijksbureau voor Kunsthistorisches Documentatie in The Hague.  This meeting followed the 8 th International Conference of Art Libraries Conference in Amsterdam that many members attended and at which Louisa Wood Ruby gave a presentation on PHAROS.

The meeting was planned as a stock taking of where the consortium stands after five years, and what might lie in its future.  It was agreed that the...

PHAROS is an international consortium of fourteen European and North American art historical photo archives committed to creating an open and freely accessible digital research platform allowing for comprehensive consolidated access to photo archive images and their associated scholarly documentation.  The PHAROS collections collectively contain an estimated 25 million images documenting works of art and architecture and the history of photography itself. The consortium is actively looking for funding and technology partners to advance this work.

Old aerial photos provide a new outlook on 20th century history

Aerial photos from 60 countries across the developing world are now becoming a gold mine for researchers in various fields. This is thanks to a research project in which a large and previously inaccessible archive is digitised and made freely available.

Aerial photos – gold mine for researchers

1.7 million black-and-white aerial photographs, seven digitisation robots in an industrial building on the outskirts of Edinburgh and an international research team co-led by two economists at Stockholm University. Finding a connection between these three things is not entirely obvious – but it exists, and can be of great importance for several research areas.

The story that will weave these three threads together begins at a research conference in London in 2014. Over drinks, Andreas Madestam, economist at Stockholm University, hears from another conference participant about a huge archive of images. These are aerial photographs that a British government agency named, originally, the Directorate of Colonial Surveys and, later, the Directorate of Overseas Surveys, commissioned during the period 1940 – 1980. The aerial surveys initially covered countries that were at the time colonized by Britain and later, post-independence, expanded coverage to more than 60 countries worldwide. The area covered by the aerial photos is thus a significant part of the Earth's land surface, especially in sub-Saharan Africa. In total, there are almost 1.7 million photos.

Rescued from storage in damp conditions

The photos were taken to create maps, but as satellites came to take over the tasks of mapping and imaging the earth's surface, aerial photography became less and less important. Eventually, the Directorate of Overseas Surveys ceased operations, film negatives were dispersed to the countries they covered, and two print collections were archived. But the museum holding one of the archives ran into financial and legal difficulties. The aerial photos were stored in damp basements, some photos were affected by mold, and the entire archive was nearly destroyed. The National Collection of Aerial Photography (NCAP) in Edinburgh took custody of the archive and moved it into safe storage conditions. But there was no funding available to digitize the archive and make it accessible for research. And scanning the archive manually could take many years.

A gold mine for researchers

This vast archive of aerial photographs, covering parts of the world which often lack other historical records, is a gold mine for researchers. The photos show cities, villages, road networks, forests, and cultivated land, to name just a few examples. Since the photos were taken over more than 40 years, it is possible to see how human influence has changed a large part of the earth’s surface. But the photographs needed to be digitized in order for researchers to gain widespread access to the archive.

After hearing about the archive, Andreas Madestam, together with Anna Tompsett, also an economist at Stockholm University, realized the enormous potential that existed in this archive, not least for research in their own field of development economics. They also realized that significant resources would be needed to get the archive digitised.

Grants to digitise the archive

With an international team of collaboators, Andreas Madestam and Anna Tompsett began to plan how the archive could be digitised and made available for research, and applied for funds to digitise the archive. In 2017, they were awarded almost SEK 11 million from the Swedish research financier Riksbankens Jubileumsfond for the digitisation of the aerial photographs. In 2020, they were granted an additional almost SEK 53 million from the same financier to continue digitisation and begin research on historical development based on the aerial photos.

10,000 photos scanned every day

The first research grant made it possible to develop new digitization techniques. This is where the seven robots in Edinburgh enter the story. Adapting technology from the food production industry, robotic arms lift one aerial photo after another onto the scanner to be digitized. At maximum production, almost 10,000 aerial photos were being scanned every single day. In September 2023, the last of the nearly 1.7 million aerial photos was scanned. Researchers from Berkeley, Caltech, Stanford, and MIT are collaborating with the Stockholm team to process the images.  

The individual aerial photos must be combined into a larger mosaic to make it possible to get an overview of what a city or region looked like. Algorithms and machine learning are important tools in the work of putting the images together. The team of 18 researchers and collaborators involved in the project includes experts in machine learning. By the end of 2024, the team expects to have successfully geolocated each image in the archive on the earth’s surface.

Access to large amounts of data

For a research project, this is a little special, according to Andreas Madestam. In the first stages, the focus has been on digitising the aerial photos and converting them into data that can be used. But the eventual goal is for the researchers to use this data to answer new research questions. In parallel with digitization, the researchers are therefore planning how the data can be used. "The project is giving us access to such a vast amount of data. This is a strange situation for a researcher, especially when we study history. Mostly we have tiny amounts of data, and we have to think creatively about what we can learn from them. Here, there are just so many possibilities. We have to ask ourselves what the most important questions are that we should focus on," says Andreas Madestam.

Great potential in development research

In development research and economics, Andreas Madestam and Anna Tompsett see great potential for using the scanned aerial photos to study population density, urbanization, and where and how wealth has grown. The team is also creating maps of land use. Spatial resolution is high, allowing individual buildings and even vehicles to be distinguished.

"We can produce examples of places that have seen radical changes caused by humans, such as oil wells, mines, etc. The photos help document what some people call the Anthropocene, the era when the dominant force shaping the environment is the human race,” says Anna Tompsett. The extraordinary detail displayed in the aerial photos reveal may also be of interest to, for example, geologists, historians, archaeologists, ecologists, cultural geographers and climate scientists.

Free access to data

A key project goal is to increase access to the archive. The mosaicked images will be made freely available for all non-commercial uses under Creative Commons licensing, while other data outputs, such as historical land use maps, will be made available for unrestricted use under Creative Commons licensing. 

Study on the Caribbean

This autumn, the first study using these aerial photos will be complete. It focuses on the Caribbean and highlights the long-term interplay between social, economic, and ecological systems after decolonization. The new data show that urbanisation and restoration of forest ecosystems has occurred simultaneously, illustrating that human development does not necessarily entail negative ecological consequences. By the end of this year, the research team also plans to release data along with several other research papers that are currently in development.   Read more on the project page Read about The Directorate of Overseas Surveys (DOS)

The 20th Century was a period of unprecedented global change, both for human development and for the environment. To understand long-run development, we must first be able to measure these changes.

Last updated: August 27, 2024

Source: Communications Office

Photo Books

• Fleece Blankets
• Ceramic Mugs
• Wedding Invites
• Anniversaries
• Baby Showers
• Cards and Stationery
• Father's Day
• Photo Prints

Wedding Invitations

65+ photography project ideas you can start today.

Written by  Shutterfly Community Last Updated: Dec 8, 2020

Do you want to sharpen your skills, learn fresh techniques or just have fun with your camera? Photography projects help you accomplish all three.

Shop Trending Categories

Christmas Cards

Canvas Prints

Photo Ornaments

Through themed projects, you can capture unique images that follow a certain framework or style. Your project can last a week, month or year—depending on how in depth you’d like to go. To offer you inspiration, we’ve compiled 68 creative photography projects that are appropriate for all skill levels.

Once you’ve completed your project, be sure to create a photo book with your images or select your favorite for a canvas print .

1. Self Portrait

By switching the focus from other subjects to yourself as the subject, your photography takes on a whole new perspective. When setting up your shot, choose a landmark item to use as a stand-in until you’re ready to jump in the frame.

Play with auto and manual focus with your stand-in until you get the shot just right. Then, enter the scene using the timer option.

For the wisdom project, the goal is to gather photographs of those who have offered you wisdom or a helpful perspective. You might feature grandparents or mentors—or be inclined to include young ones who have provided you a fresh angle on life.

Aim to capture individuals in their natural state, especially if it’s in a location where they shared a special moment with you.

3. Candid Photo

Photographing someone in their natural state allows for their true personality to shine through. With a candid photography project, incorporate a range of human subjects for a diverse collection, or capture the same subject across different settings and days.

Building a portfolio of several candids allows you to paint a vivid persona of your subjects.

4. Street Style Photography

Authentic street style photography allows you to snag shots of the latest fashion—all without the strut of the runway. Look for colors first (either eye-catching or stunningly neutral), then watch for the cut and structure of the clothes.

Aim for overall beauty within the frame, including the street or walkway, so the focus isn’t solely on the clothes.

5. All About The Details

Create a collection of shots with unique subjects that focus on the details. Whether the photos are for an engagement , graduation or everyday occasion, you can take portraits of smaller details, like wisps of hair, relaxed hands and prominent features. Making your subjects feel comfortable and confident in front of the camera is the first priority. Plan a single shoot for various angles to help capture what looks best on a given day or moment.

6. Natural Element

Plan for your gallery of photos to include candid shots of the subject in their element. Whether they love the beach or like to craft, you can capture your subject in their favorite space or place to go.

If a subject feels awkward in front of the camera, have him or her lean against something vertical, like a fence, wall or car. They’ll feel more anchored and their body angle will offer the photo some character without seeming unnatural.

7. Pet Photography

From cats to dogs to horses, the heart and soul of your pets can be captured with the right technique. Incorporate natural light in your shoot keep watch of your pet’s eyes. Expressions and personality often shine through and it’s a great time to capture these moments.

8. Motherhood

Being a mother is one of life’s greatest gifts. When we’re parents, beautiful moments take place along with messy and chaotic ones. Encapsulate the full spectrum of motherhood with photos from quiet moments like snuggling with your child to lively times like cooking together in the kitchen.

With any photography project, it’s important that your images tell a story.

9. Panoramic Pictures

A popular technique for landscapes, panoramic photography enlarges the viewpoint beyond the normal size of a camera lens. To ensure there are no gaps in your panoramic shot, overlap your image by 15-30%.

You’ll also want to keep your camera as level as possible to ensure the photo is even throughout. Don’t forget that panos work well for vertical shots, too, like waterfalls and deep canyons.

10. Sunsets Photos

Sunsets make for stunning photos—especially when executed well. For maximum beauty, be sure to slightly underexpose the sunset for rich and dramatic colors. Use manual mode and a fast shutter speed for underexposure, or use aperture priority with exposure compensation.

Make your sunset even more magnificent by arranging an object or scene in the foreground of the sunset, like a lake or mountain.

Mist and fog are natural elements that can enhance the beauty of your photography. Check the weather to determine when fog might pop up. Oftentimes the best lighting for fog photos occurs in the wee hours of the morning or late in the evening after sunset. The low lighting causes a slower shutter speed, which means a shakier camera.

Keep your camera as still as possible or use a tripod. The best places for foggy photos? Open bodies of water and other sweeping landscapes like fields and low rolling hills.

12. Cityscapes

Hovering skyscrapers and diverse skylines are part of what makes cityscapes such attractive photography. For a cityscapes project, try different vantage points across the city to see what works best (think: a popular lookout compared with a more secret locale).

Prepare for an after sunset shoot, allowing the city lights to pop against the dark sky. Remember to use a wide angle lens to cover as much ground as possible.

13. Water (Rain, Ocean)

Whether you’re hoping to create scenes of smooth, flowing water or capture dynamic waves crashing against a seawall, it’s critical to have better than average camera equipment. For nearly every water shot, a tripod is also essential to keep the frame still for the length of the exposure (usually two to four seconds).

Pack along a lens-friendly cloth to remove splashes and water marks. Plan to get wet if you’re banking on a stunning water shot.

14. Seasons

Each season offers its own charms—from snowy branches to colored leaves. Select a location for your seasons project where you’ll snap photos throughout all four seasons. Once the year is complete, you’ll have a collection of stunning images that tell the story of your special place over the course of a year.

15. Star Trails

Spectacular from edge to edge, star trails photography is an adventure to shoot. The first step is to find a clear sky full of stars, but free of pollution and other light interference. Anchoring your camera on a tripod, set your camera to shoot on manual mode. The faster the lens you have, the better.

Once you have your shot prepared, select drive mode for consecutive shots rather than a single frame. With your remote, let your camera take photos for thirty minutes up to a few hours, depending on the length of star trails you’re creating.

Capturing still images with a remote-controlled drone opens up the options for angles and perspectives in your photography. Consider sending a drone above a beach, golf course or mountaintop.

Increase the altitude of your drone for a more impressive viewpoint and try GPS mode for a more stable shot.

17. Food Photography

As a still life technique, food photography requires a few main ingredients: good lighting, props and style. Place your items near natural lighting or use a flash to give the photo a balanced look. When it comes to the arrangement, consider adding in table setting details like plates and silverware.

Amplify the photo’s texture with decorative pieces like colorful fruits and sprigs of herbs. For a well-rounded food photography project, shoot a variety of foods and dishes.

18. Black and White Month

Instead of using the full color spectrum, this project idea prompts you to capture images in black and white only. Two-toned photography provides a different perspective or feel to your work, and gives you a chance to highlight people, places and objects in a novel way.

For instance, a close-up of hands be enticing when displayed in color, but in black and white, the image paints the story that all humankind is united.

19. Everyday Moments

Photos that showcase a slice of regular life contain a certain genuine beauty. When preparing for everyday moment shots, make sure subjects are comfortable. People should interact as if you aren’t even present.

The true magic happens when you’re able to capture two people’s true connection.

20. Random Acts of Kindness

The random acts of kindness project prompts you to capture someone doing something thoughtful or helpful for another person. By photographing these moments, you’re telling a larger story of humanity.

To be successful in this project, you’ll need to keep a keen eye out for small acts of generosity, like a young man holding the door or a little girl smiling at a stranger.

21. Shoes For a Week

Narrow your photography focus for a week by capturing different styles of footwear. From boots to sandals to athletic shoes, diversify your image collection. Be sure to utilize a range of angles to create unique stories for each photo (i.e. a guy lounging with shoes on, two people talking while standing, a woman running).

22. Comfort Zone Challenge

Pushing the limits of your creativity often leaves you with impressive and surprising results. With the comfort zone challenge, throw caution to the wind and experiment without expectations.

Maybe that means you’ll shoot a paragliding experience, a fireworks explosion or animals in action. When you’re snapping shots, play around with your shutter speed, aperture, focal length and movement.

23. 30 Strangers

Taking a photo of someone whom you’ve only just met can be thrilling. It can also be personally and professionally rewarding. Through the 30 strangers project, you’ll capture 30 portraits of people you’ve never met before. Find people on the street, in a shopping mall or at a park.

Be sure to ask each person’s consent first before posting publicly. The 30 strangers challenge will certainly stretch you outside of your artistic comfort zone.

24. Duotone

Duotone photography refers to a multitone production of an image, usually imposed through photo editing techniques. The superimposition of a contrasting color halftone (normally black) over another color halftone enhances the middle tones of an image.

Photographs with one main object, like a flower, seashell or tree, are ideal for creating duotone effects.

25. Perspective

Perspective photography can take many forms: those shot from a low angle, ones with strong leading lines and those that look straight up into the sky. Whether your scene is a railroad track or skyscraper, your image should emphasize the angle and the unique perspective you’re hoping to give the viewer.

Train your eye to notice patterns, lines and reflections you can capture from different angles.

Not only is coffee delicious and rejuvenating, it’s also a work of art. Collaborate with a barista on a latte design or the type of mug to use. Choose a simple backdrop so the coffee remains the focal point.

A dark backdrop is best if you’re aiming to capture the steam rolling off of a warm drink.

27. Create a Photo Album

Let your memories last forever by creating a photo album for a recent vacation, an adventurous summer or a year filled with fun. Design your photo album with a theme in mind to build cohesion. Vary your layouts from page to page for texture and personality.

28. Traffic Lights

When photographing traffic lights and other light trails, the best time is during or after twilight on a night when minimal wind is present. Based on your camera angle and objects, you’ll need to adjust and experiment with your settings.

Often times, shutter priority mode is ideal along with a shutter speed of six seconds. Make stability a non-issue with a tripod, and remember you won’t be using a flash.

29. Happy Days

Allow joy to take the center stage of your photos. Whether they’re candid shots of family members interacting or a single subject, make sure the smiles are natural. Enhance the happiness level by highlighting the subject with ample natural lightening.

30. Photo Scavenger Hunt

Challenge yourself and your fellow photographers by setting up a photo scavenger hunt . Rather than choosing objects and locations to capture, create a list of photography styles to achieve. For instance, your list might include building a motion blur or catching a clear action shot. At the end of your hunt, you’ll have a collection of impressive photographs.

31. Night Scenes

Night scenes, also known as low light photography, allow you to make the most of dark scenes that are hard to capture. When less light is present, it means you’ll also have slower shutter speeds, which equals more camera shake. For this reason, landscapes and long exposures at night time require tripods.

Whether you’re shooting special moments around the campfire or gazing up at the stars, utilize a wide aperture or a low f-number to let in as much light as possible.

32. Polaroids

Polaroids offer a timeless feel and give photos a natural frame. When creating a collection of polaroids, be sure to switch up your angles and perspectives. Try a few upclose shots of objects along with macro shots of mountains and lakes.

For polaroids with human subjects, allow for plenty of natural light and aim for candids.

33. Letters/Signs

With any inanimate object, the challenge with photography is to bring it to life. With letters and signs, try to enrich the shot with the surrounding scene whether it’s greenery or a neat light fixture. Angle your lens in a way that makes the lettering most striking.

Build a full photography project with at least five to ten different signs.

34. Action Shots

To nail a clear action shot—for sports, animals or anything else—the most important aspect is to be prepared. Consider pre-focusing your shot, so when the subject enters the frame, you’re ready.

Because it may take several shots to capture even one solid photo, shoot in short bursts for a few seconds at a time. Keep extra space at either edge of your frame to allow for your subject’s movement.

35. Abstract

Fundamental to abstract photography are lines and curves. The shapes you highlight will guide the viewer’s eye to a certain engaging element. To get up close and personal with an object or design, use a macro lens. With the macro, your photo composition will have clearer resolution and sharpness. Complete your project by gathering a collection of abstract photo pieces.

36. New Lens

Your camera equipment plays a large role in your work as a photographer. Your tools, like your lenses, can fundamentally change the structure your art.

To sharpen your skills, try using a single lense for an entire month. Ideally, the lense will be new to you—allowing you to master the new tool and broaden your photography skills.

37. Architecture

Photographing architecture—whether modern or classic—presents unique challenges. Consider capturing an array of building styles for your portfolio and don’t forget to mix up your angles. Vary your shots by choosing a different weather conditions and times of day.

Through your diversity of shots, you’ll have richer story of the buildings’ relationship with the environment.

38. Thankful

To enhance your gratitude and happiness, consider completing a thankful project where you take one photo every day of something you’re grateful for. From flowers to pets to family members, find subjects that have personal meaning to you.

By capturing what you’re thankful for, you connect deeper with the people, places and things that surround you.

39. Sunday Mornings

Whether you’re enjoying a cup of coffee or a good book, snap a photo every Sunday morning for one month or a year. Capturing everyday occurrences through photography is a form of artistic journaling, helping you to document life’s big and small moments.

40. Top View

The angle of your shot makes all the difference in how appealing and engaging it is. Try a series of photos where your perspective comes from the top. Amp up the creativity by getting higher for your shoot and using a wide angle lens.

A busy environment, like a packed street or active household, can become a striking composition when using a top view perspective because it offers necessary distance from the cluttered setting.

41. Guilty Pleasures

We all have foods and activities we love despite feeling that they might not be held in high regard. Perhaps your guilty pleasure is cream-filled donuts or binge watching reruns of your favorite sitcom.

Collecting images of your guilty pleasures will likely bring you humor and levity, knowing that these items are a part of you, but they don’t necessarily define you.

42. Silhouettes

Forming a distinct contrast between light and dark, silhouettes highlight one or multiple subjects. Ensure your subject is backlit with the sun behind them. The best times to shoot silhouettes are in the morning or late evening.

Build a stunning image by setting the scene with open space, like in a field or along the beach. Set up your camera angle facing the sun, then ask your subject to stand between the sun and you. Play around with the exact angle until you have a strong contrast.

Create a collection of photos shot with prism filters on your lens or by placing a prism in front of your lens. The light that dances off of the prism will add creative effects to your photography by dispersing light before it hits the camera. Secure your camera on a tripod so you can have your hands free to play with the prism and lighting.

Prism photography can include large subjects like nature scenes and architecture or smaller objects like books and candles.

44. Symmetry

Finding subjects that offer you symmetry is the foundational step for this photography project idea. Look for symmetry in architecture and nature, but don’t leave out human and animals subjects. Smaller details, like hands or feet, often make for the perfect symmetrical photo.

Bokeh photography is denoted by one unique characteristic: a blur produced in the out-of-focus area of an image. The blur, produced by a lens, helps direct the focus of the photo. A fast lens is necessary to achieve this technique, with at least an f/2.8 aperture.

With a wide open lens, you can create bokeh with subjects like butterflies, humans and fencing around a baseball field. These photos are perfect for framing around your home .

46. Action Figures

Due to their size, action figures are easy to rearrange and shoot from multiple angles. Bring the scene to life by having the figures interact with each other. If you’re looking for an extra challenge, tell a story through your action figures, like one you would find in a comic book. Include action shots against a simple backdrop.

47. Steel Wool

Although it may seem like steel wool photography would require expensive equipment, it is a surprisingly inexpensive technique. For this project, you’ll need the following: a camera, lens, tripod, shutter cable, steel wool, string, stainless steel whisk, lighter and protective gloves. In a dark location—away from combustible items and other people—burn steel wool that’s loosely packed in a whisk.

As the steel wool burns, spin the whisk either vertically or horizontally to create the desired effect. The burning will only last about ten seconds, so you’ll want to set up for at least five seconds of exposure time. Steel wool photography creates wild and interesting images, but be sure to follow safety precautions to avoid hazards.

To enhance your skills and test out a nifty shooting technique, try macro photography on tiny subjects like insects, match-heads and flowers. Keeping your budget in mind, choose a magnification lens that lets you make super small items appear larger than life. For your macro project, vary your subjects.

Consider nature’s smallest members, miniature household items and up close shots of human elements for your portfolio.

49. Double Exposure

Double exposure, also known as multiple exposure, is a technique that combines two images in a single image. By using double exposure, you can create a distinct effect like a mirror image or ghost-like presence. The layering technique can be done with or without photoshop, depending on your equipment and skill set.

50. Escapism

Photography, like any type of art, can be a form of escapism. Through the camera, we can create images that help us step out of reality and into our daydreams. Prepare for your escapism photography project by thinking of your ‘happy places’ or locations you go to get away.

After brainstorming, head to one of those locations and shoot scenes that offer a mystical aura—whether it’s birds fluttering in the forest or the clouds lifting off of the mountains.

51. Shadow Art

Just as light is a critical element to photography, so is darkness. With shadow art, the focus is placed on the subject as it blocks light from reaching a surface, like a sidewalk or table. Experiment with the angle, distance and size of your light source to alter the intensity and scale of your shadows.

Consider humans as your subjects, but inanimate objects, too, like musical instruments, buildings and action figures.

52. Texture

From brick walls to tiled roofs to wooden fences, textures are all around us. Complete a photo challenge where you take one shot of a textured surface every day. Turn on your auto focus to ensure the object is in perfect focus. Adjust your distance from the subject based on how much detail you want in your image. This idea is perfect if you’re also looking for creative Instagram photo ideas .

Aim for a ninety degree angle when you shoot the image so your texture is lined up straight with the camera.

53. 365 Wardrobe

On each day of the year, snap photos of your clothes before you begin the day. Arrange them differently—sometimes orderly, sometimes more carelessly—to gain a sense of how your mood changed from day to day. Remember to include accessories like purses, shoes, belts and headbands.

54. Suspend Time

Photography is a powerful art medium: it can even pause time. Whether you’re suspending an item with a fishing line or taking a shot of someone jumping, you can create the look of time being stopped. Start this photography project by choosing three items or people you’d like to suspend.

55. Balloons

Bursting with color or more neutral tones, balloons make for versatile props. Let helium balloons off into the sky and capture photos as they float up. Surround the birthday girl with balloons in an otherwise empty room. Or tie a balloon to a child’s wrist and photograph them as they wander through a park.

56. Hotel Carpet

If you travel frequently, the hotel carpet project may be the right kind of fun for you. Next time you’re walking through a hotel lobby, glance down at the carpet beneath your feet. All sorts of patterns and colors are used in hotel carpets across the world. Take a snapshot (ideally at a 90-degree angle) of each carpet for a collection that will help you remember all of the places you’ve been.

Across neighborhoods and cities, doors provide insight to each home’s character. For this photography project, set out on an adventure to collect as many styles and sizes of doors as possible. Choose a macro approach, where the whole door makes the shot, or go micro by narrowing the frame to door handles and styles of wood.

58. Juxtaposition

To build juxtaposition in your photographs, place two opposite subjects next to one another. Like a blue ocean and a green forest, the contrast between the two is noticeable yet stunning. Types of juxtaposition might include a person and their shadow or a thin item next to a thicker item. For this photography project, try several contrasting subjects or locations.

Photos full of irony can be humorous or thought-provoking. Maybe you snap an image of a tow truck hauling another tow truck or you notice a descriptive sign in a place that doesn’t quite seem to fit. When it comes to ironic photos, a keen eye is needed along with a quick wit.

60. Fairy Lights

Fairy lights make for beautiful focal points. You can wrap the lights around a tree, weave them between human subjects or fill mason jars with them. Build a larger scene by ensuring no backdrop distractions are present or capture the fairy lights up close.

Regardless of what subjects and scenes you decide to shoot, proper exposure is crucial.

For this photography project, choose smoke as your primary accent. Incense sticks are easy to use and allow you to play with various colors. Your setup should ensure ample ventilation for the smoke to escape the room. Some photographers merge two photographs (one of the smoke and one of the object) to design a special scene, like one of a toy train blowing smoke or a tea kettle steaming.

62. Vintage Cars

From sporty models to classic town cars, vintage vehicles never go out of style. Look for vintage makes at car rallies and exhibitions, although sometimes you’ll come across them in your everyday happenings. The golden hours, right after sunrise or right before sunset, are ideal for shooting cars. Highlight specific parts, like bumpers, trunks and hoods for diverse perspectives.

63. Faces In Things

You’ve probably seen images that double as a face and another object. In this photography project, you’ll create a similar effect. Take a close look at nature, food and furniture to locate hidden human faces. Compile as many faces as you can, and see if your friends can guess what’s in the images.

Alter your perspective by shooting your subject through a picture frame. The frame technique works best outdoors where you can place ample distance between your lens and your subject. Consider creating scenes with a woman standing on the beach, a tree in an open field or a tall building at the end of a street.

65. Reflections

Any body of water—like a lake, river, pond or swimming pool—can act as your reflective tool for this photography project. You’ll want to avoid direct light on the water to eliminate glare. Practice using reflections on waterfront cityscapes or mountains overlooking a lake.

66. Take My Hand

When you can represent human connection in photography, the emotion of the image is strengthened. Head out on a hike or stroll through a garden to practice photographing two hands linked together.

67. Picception

A relatively new technique, picception images incorporate another camera or photo into the shot. It can be a picture-in-a-picture style or something more subtle like a photograph of someone taking a photograph. While often informal, picception shots can be formal if intentionally designed.

Often eye-catching, neon photos provide a stunning mix of light, shape and color. Whether you’re on the Vegas strip or exploring your hometown at night, take photos of neon signs with your camera’s evaluative meter exposure setting. Choose a low ISO of 200 or 100 to avoid noise. Be sure to place your camera on a tripod for stability.

No matter which photography projects you decide to complete, remember to enjoy the process and save copies of your photos. Design a themed calendar or metal print to showcase your results.

Explore Categories

Framed Prints

Custom Photo Blankets

Photo Puzzles

Written by Shutterfly Community | View all posts

★ Lifestyle Expert

Shutterfly Community is here to help capture and share life's most important moments. Discover thoughtful gifts, creative ideas and endless inspiration to create meaningful memories with family and friends.

Visit their Website . You can follow on Instagram and Pinterest .

52 photography projects: a great technique to try every week of the year

Our pick of the perfect weekend photography projects

• Home photography projects
• Outdoor photography projects
• More outdoor photography projects
• Long-term photography projects

Looking for photography projects to stimulate your creativity? Whether you’re a beginner who’s just learning the ropes or a seasoned snapper in need of inspiration, trying out a new technique can help you grow as a photographer. That’s why the list below features our pick of the best ideas to try with your camera.

From painting with light trails to capturing twilight landscapes, there are countless creative ways to use your camera and its lens. This round-up of our favorite weekend projects features suggestions to suit every skill level – whether you’re shooting with a smartphone or a ‘proper’ camera like a DSLR.

Some you can do from the comfort of you home, while others will have you heading out in search of specific scenes. Whether it’s a novel technique or an inventive suggestion for finding fresh subjects, every idea below has one thing in common: it should challenge you to try something different and find a fresh perspective.

Most of the projects can be attempted using the equipment you already own. Those that do require additional materials should all be achievable with pocket-money purchases – and if there’s any crafting involved, it should be well worth the effort when you see the results.

We’ve shared 52 of our favorite suggestions to do in 2022 below. Try them all and, in a year’s time, there’s a good chance you’ll be a better photographer, with a keener understanding of your camera and what it’s capable of. Plus you’ll be all set to attempt the final project: self-publishing a photo book.

The best home photography projects:

1. water drop art.

The basic idea with this project is to suspend a container of liquid and let drops fall through a small hole, then capture the resulting splash. Timing the shutter as the splash is created is everything. We achieved good results using two flashguns set to their lowest power (1/128th), an aperture of f/22 and water mixed with Xanthan gum to make a more viscous solution. We also used a SplashArt water drop kit from PhotoTrigger , which helped to regulate the size and frequency of the drops.

2. Indoor splash shots

For this project you'll need a flashgun that you can fire remotely, a container with clear sides for your water, a coloured background and a tripod. Set up the container and backdrop, then position the flash over the container. With the camera on a tripod and set to manual focus and exposure - f/8, ISO200 and the fastest shutter speed that will work with your flash - drop the object into the water and fire the shutter as it hits.

Get daily insight, inspiration and deals in your inbox

Sign up for breaking news, reviews, opinion, top tech deals, and more.

3. Shapes of bokeh

Out-of-focus orbs of light can add magic to any image, but the bokeh effect needn’t be limited to standard circles. From love hearts to stars, a simple cutout filter can transform background sparkles into brilliant shapes. 

Using your lens cap as a guide, draw a circle on a piece of card. Cut out the circle, score a small shape in the centre using scissors or a craft knife, then push the card onto the front of your lens (or attach it with an elastic band). When you next shoot a scene, any unfocused light will take the form of your shape. 

Use a wide aperture to maximize the effect and remember that, as the filter restricts the amount of light entering your lens, you’ll want to set a longer exposure or higher ISO. Try simple shapes such as triangles to get started, before progressing to stars, hearts, crosses and more.

4. Create smoke art

Smoke trails are a firm favourite among still-life photographers. But how about taking it to the next level and using the shapes in a creative Photoshop project. Once you've taken a few good smoke art photos, make a blank document in Photoshop, then copy and paste one of the smoke images into it. Set the blending mode to Screen and use Warp Transform to reshape it. Continue the process to combine a range of smoke shots into a new image.

5. DIY lightbox

Lightboxes are used to illuminate objects evenly against a plain background, often for the purposes of product or food photography. Luckily, you don’t have to have a pro budget to make one at home. All you need is a cardboard box, some white paper and a table lamp. 

Remove the top flaps, stand the box on one end and cut window holes in either side. Line the box with a single, seamless piece of white paper and cover the holes with thin paper or fabric, taped in place. Then it’s as simple as positioning a desk lamp on one or both sides: the paper will diffuse the light, evenly illuminating whatever object you put inside. 

Or for an even simpler setup, use a single piece of paper as the backdrop, with one white wall made from card, and position near a window (as pictured). Experiment with aperture and shutter speed to shoot subjects with totally white backgrounds or some shadow for a sense of perspective. Then mix things up with color backgrounds. If the quality is high enough, you could list your images for sale on a stock photography website to earn some lockdown pocket money.

6. Lubricate your lens

Want to give your housebound portraits added glow? If you have a spare lens filter lying around, try an old Hollywood trick: smear a layer of Vaseline on the glass to give your images a soft, dreamy look, keeping aperture wide to emphasize the ethereal effect with a shallow depth of field. 

Get experimental by leaving the middle of the filter free from Vaseline to create a halo effect, with the centre in clear focus but the outer elements blurry and soft. Don’t want to sacrifice a filter? Stretch cling-film tight across the lens and keep it in place with an elastic band, before using the Vaseline in the same way. If you’re not into portraits, try the effect when shooting a light source for a unique style of diffusion.

7. Make your own filters

It’s no secret that color is a major element of any image, but you don’t need expensive filters or editing software to experiment with saturation. In fact, you don’t even need to leave your home: all manner of household objects can function as color filters to bring new hues to your photography – and to transform mundane moments into brighter snaps. 

Attach tissue paper to your lens with an elastic band for an instant change of scene, or try shooting through thin fabric with a light source placed behind. Too easy? Take a snap through a laundry capsule for a liquid tone adjustment or use a whisky bottle for sepia shades with a hint of distortion. Petals are pretty effective, too, as are translucent sweet wrappers.

8. Try cross-polarization

This fun project exploits the effect that polarised light has on some plastics. You'll need two polarising filters - ideally one of these should be a sheet of polarising film. You can pick up an A4 sheet of Lee 239 polarising film for £50 (try www.robertwhite.co.uk or www.pnta.com ). The sheet of film should be placed on a lightbox or in front of the only light source. An iPad screen and most computer screens have a polarising filter built in, so if you don't have a sheet of polarising film you can always experiment by creating a white document to fill the screen. Simply attach the circular polariser to the camera lens and rotate it to make the colours appear in clear plastic items

9. Food landscapes

Spice up your food photography! All you need is a set of model figures - Hornby 00 gauge figures are perfect, as they're available in a wide range of poses. Preiser has a great range too. The most important aspect is to establish a sense of narrative. Here you can see that there's a conversation between the characters, with the mountaineer on the 'mash face' being helped by his colleagues on the ground.

10. Fine-art food

Try turning your dinner ingredients into photo art using just a lightbox and a very sharp knife. Slice fruit and vegetables as thinly and evenly as possible, then place them on the lightbox. With the camera positioned directly above, use Live View to focus manually on the details. Set an aperture of f/8 to give adequate depth of field, and dial in some exposure compensation of +1 to +3 stops as the bright light can fool the camera's meter into underexposure.

11. Flowers in ice

A relatively inexpensive way of taking 'kitchen sink' close-ups that look great blown up as wall art. Freeze flowers in plastic containers of distilled or de-ionised water (available through your local auto or hardware store). The flowers will float, so try to weigh them down or fasten them in place so that they freeze under the water. Place the block of ice on top of a clear bowl or glass in a white sink or plate, so that the light can bounce through from below. Position a flashgun off to one side, angled down towards it, and shoot from the opposite side.

12. Abstracts in oil

Oil floating on the surface of water is a great way to make striking abstracts. This table-top photo project exploits the refractive quality of oil and bubbles to accentuate and distort colours. All you need to do is place a few drops of cooking oil on the surface of water in a glass dish. Make sure the dish is supported about 25cm about the table top, then place coloured paper under it and use an anglepoise lamp or flashgun to light the paper.

13. Play with fire

It doesn’t take a pyromaniac to see the photographic potential of fire, but it does take patience, skill and plenty of precautionary measures to capture a stunning action shot of a match igniting. If you’d rather not risk singeing your fingertips, try a different type of flame photography.

Shooting by candlelight alone can lead to magical results. As with any single source of light, it allows you to experiment extensively with shadows – especially if you’re capturing a portrait – while the soft, warm tone and flicker of the flame both contribute to an especially ethereal effect.

In a darkened room, try shooting with a medium-high ISO and a relatively slow shutter speed. Start with just a candle and your subject, before introducing additional elements and playing with positioning. A nearby wall, for example, will throw the candlelight back in different ways, while glass will add to the magic with fiery reflections

Tweak shutter speed to affect the strength of shadows or try adding further flames – though you might need to adjust the white balance if things look more yellow than mellow.

14. Repaint the walls with camera obscura

Familiar with pinhole photography? That technique relies on camera obscura – a natural optical effect that occurs when a small hole in an otherwise sealed space (such as a box) projects an inverted image of the world outside onto the opposite wall. You could make a pinhole camera as an at-home project, or you could go even bigger: with the right setup, you can create the camera obscura phenomenon in an entire room. 

First, you’ll need to black out a room – for example, by taping opaque sheets over your windows. Then you’ll need to make an aperture through which light can enter; the smaller the hole, the sharper but dimmer the image. Camera obscura works best in small/medium rooms, with an aperture of around 10-15mm diameter. Allow your eyes to adjust and determine whether you need to brighten the image by making a larger hole, then marvel as an inverted version of the outside world appears on the wall. 

Capture the entirety of this remarkable natural effect using a wide angle, a relatively long exposure and a tripod, or focus on specific elements of your room to emphasis the effect – such as houses appearing to float upside down on your mantelpiece.

15. Camera tossing

Chucking your precious photographic equipment into the air might sound like something designed to void the warranty, but – provided you’re not too clumsy – camera tossing can deliver some truly spectacular results. Try it in a dark room with a single light source. Set a shutter speed of around one second (roughly the length of time it’ll be in the air) and, as the timer hits zero, launch it upwards. Catching it is the important part, but once you’re comfortable with the technique you can experiment with multiple light sources, different colors and even spinning your camera as you release it.

16. Psychedelic soap film

This is a wonderful project that makes for vibrant desktop wallpaper or abstract wall art. You'll need liquid soap mixed with glycerine for long-lasting soap film, plus a wire loop, a black cloth background and a macro lens of at least 100mm. The colours created by soap film only appear when hit by light from a certain angle, so set up near a north-facing window and shoot from around 45 degrees.

17. Refractive art

Light bends when it passes through water, causing the objects behind to change appearance. This is called refraction, and you'll make use of this phenomenon in this arty photo project. All you need is a few glasses, a flashgun, a tripod and a black-and-white pattern print. Simply place the pattern in the background with the glasses in front. Fill them with different levels of water and move the pattern backwards or forwards to fine-tune the effect.

18. Kitchen close-ups

Your kitchen is an ideal location for shooting a macro project. Its reflective surfaces can be used to create interesting backgrounds for your shots, and a shallow depth of field can transform the most mundane of objects you'll find there. Creating a triptych of images can result in a piece of fantastic wall art for your kitchen too, although it's important to think about how they're going to work together before you start shooting. Here, 3 objects - a fork, a bowl of cereal and coffee granules - were all shot from a similar angle, with the impression of height linking the sequence.

19. Invert the world with a crystal ball

Shoot through a crystal ball and, while you won’t see into the future, you will capture an inverted version of the scene behind the orb. Just as light is refracted when it passes through the glass elements of a lens, the same thing happens with a glass sphere. There are dedicated photography balls on the market, but the effect can often be achieved using a clear marble or even a paperweight. Nothing suitable? A water-filled wine glass can also work. 

All sorts of subjects look good through an orb, from sunsets and cityscapes to abstract items and even portraits. Try shooting with a macro lens to fill the frame with the sphere, or with a wider angle to include some of the scene behind. To really play with perspectives, rotate the image with editing software so that the background is inverted but the scene in the orb is the right way up.  You can also incorporate elements that support the ball into the image, such as hands, bowls or miscellaneous objects.

20. Still-life bokeh

Something as simple as a crumpled piece of foil can be the basis for a creative photo project. Position a still-life subject on a sheet of glass with a piece of dark material underneath it. Scrunch up the kitchen foil then smooth it back out and place it in the background. Shine a table lamp or torch on the foil and, with a tripod mounted camera, dial in the lens's widest aperture to create some beautiful ' bokeh '. During the exposure, shine a flashlight onto the subject.

21. Play with shadows

Photography is fundamentally about capturing light, which is exactly why shadows can be so powerful. They can create contrast with lighter parts of a composition or add texture to an otherwise plain subject. They can even be manipulated to tell a story. Incorporating shadows into your images will challenge you to think not just about the objects within a scene, but how things outside of the frame can affect the light that falls within it.

To play with shadows, all you need is a light source and a solid object to block it. This could be something natural, such as the shadow of a tree cast by sunlight. Equally, it could be something man-made, such as the outline of a street sign created by a car’s headlights. Or it could be something you create yourself: try playing puppet-master by shining a torch and dancing your hand in front of it. 

You can also invert this idea by shooting a subject which is predominantly in shadow and experimenting with how splashes of light fall upon it.

22. Still life light trails

Light trails can be used in all kinds of photography, but they're perfect for a creative still life project. You can use a regular Maglite torch, but try removing the end to reveal the bulb and make the light more direct. Use some electrical tape to attach a coloured sweet wrapper, which you can use as a makeshift 'gel'. Set the canera's shutter speed to around 30 secs with an aperture of around f/8, then start moving the torch within the frame before pressing the shutter. Continue the movement throughout the exposure. Here, we suspended the torch from a piece of string and made a gentle circular movement to create a spiral around the bottle.

23. Light spirals

You'll need to attach a torch, suspended by string, to an open area of ceiling. Fit the widest lens you have on your camera, and mount it on a tripod pointing straight up. With the light turned on, autofocus on the tip of the torch and set the lens to manual focus to lock the setting in. With an aperture of f/11 or f/16 dialled in, use Bulb mode and a remote release to keep the shutter open for a minute or so as you send the torch spinning in the dark…

• Best camera flash: dedicated flashguns for Canon and Nikon DSLR
• Best macro lens 2018: close-up lenses for Canon and Nikon DSLRs
• Macro lenses: how to choose one, and how to use it

Current page: Home photography projects

Formerly News Editor at Stuff, Chris now writes about tech from his tropical office. Sidetracked by sustainable stuff, he’s also keen on cameras, classic cars and any gear that gets better with age.

TechRadar's Photography Week 2024: a celebration of all things analog

Sizing up film: camera film sizes and types explained

Football is coming... Get LG's 65-inch C3 OLED TV on sale for its lowest price ever

Most Popular

• 2 Lego Lord of the Rings, Shadow of Mordor, and Shadow of War are now available for free for Prime Gaming members
• 3 4 essential recent movies coming to Max in September 2024 with over 80% on Rotten Tomatoes
• 4 ‘Nothing Ear Open’ earbuds listing spotted and I think it’s the best idea Nothing’s had in ages
• 5 Outdated processes mean nearly all IT teams are ill-equipped to combat outages

An official website of the United States government

The .gov means it’s official. Federal government websites often end in .gov or .mil. Before sharing sensitive information, make sure you’re on a federal government site.

The site is secure. The https:// ensures that you are connecting to the official website and that any information you provide is encrypted and transmitted securely.

• Publications
• Account settings

Preview improvements coming to the PMC website in October 2024. Learn More or Try it out now .

• Advanced Search
• Journal List
• Perspect Med Educ
• v.10(4); 2021 Aug

The visual vernacular: embracing photographs in research

Jennifer cleland.

1 Lee Kong Chian School of Medicine, Nanyang Technological University Singapore, Singapore, Singapore

Anna MacLeod

2 Division of Medical Education, Dalhousie University, Halifax, NS Canada

Associated Data

The increasing use of digital images for communication and interaction in everyday life can give a new lease of life to photographs in research. In contexts where smartphones are ubiquitous and many people are “digital natives”, asking participants to share and engage with photographs aligns with their everyday activities and norms more than textual or analogue approaches to data collection. Thus, it is time to consider fully the opportunities afforded by digital images and photographs for research purposes. This paper joins a long-standing conversation in the social science literature to move beyond the “linguistic imperialism” of text and embrace visual methodologies. Our aim is to explain the photograph as qualitative data and introduce different ways of using still images/photographs for qualitative research purposes in health professions education (HPE) research: photo-documentation, photo-elicitation and photovoice, as well as use of existing images. We discuss the strengths of photographs in research, particularly in participatory research inquiry. We consider ethical and philosophical challenges associated with photography research, specifically issues of power, informed consent, confidentiality, dignity, ambiguity and censorship. We outline approaches to analysing photographs. We propose some applications and opportunities for photographs in HPE, before concluding that using photographs opens up new vistas of research possibilities.

Supplementary Information

The online version of this article (10.1007/s40037-021-00672-x) contains supplementary material, which is available to authorized users.

A Qualitative Space highlights research approaches that push readers and scholars deeper into qualitative methods and methodologies. Contributors to A Qualitative Space may: advance new ideas about qualitative methodologies, methods, and/or techniques; debate current and historical trends in qualitative research; craft and share nuanced reflections on how data collection methods should be revised or modified; reflect on the epistemological bases of qualitative research; or argue that some qualitative practices should end. Share your thoughts on Twitter using the hashtag: #aqualspace

Introduction

Smartphones, tablets, and other devices are increasingly embedded in everyday life, influencing how many people interact, think, behave and connect with other people [ 1 , 2 ]. Many people Whatsapp, tweet and text, and/or use Facebook, Instagram and Twitter for professional, social, educational and entertainment purposes. Images are increasingly accessed and used where words would have been used in the past. Indeed, more than 10 years ago, van Dijck [ 3 ] suggested that “digital cameras, camera phones, photoblogs and other multipurpose devices are used to promote the use of images as the preferred idiom of a new generation of users.”

The increasing use of digital images for communication and interaction in everyday life has given a new lease of life to a source of research data long embraced by sociology and anthropology [ 4 , 5 ]. In contexts where smartphones are ubiquitous and with groups of “digital natives” asking participants to share and engage with photographs, this aligns with their everyday activities and norms more than textual or analogue approaches to data collection. Thus, it is time to consider fully the opportunities afforded by digital images and photographs for research purposes [ 6 , 7 ].

This paper joins a long-standing conversation in the social science literature which advocates moving beyond the “linguistic imperialism” of text [ 8 ] to embrace visual methodologies. This conversation has relatively recently made its way into health professions education (HPE): for example, various authors have proposed video [ 9 ], video-reflexivity [ 10 ] and drawings [ 11 ] for research purposes. However, the use of still images or photographs in research remains niche to some areas of inquiry (e.g., exploring patient experiences, particularly mental health and experiences of serious illness (e.g., [ 12 – 14 ]) and some healthcare professions disciplines (e.g., nursing: [ 15 ])), and is an under-exploited approach in HPE research (see below for notable exceptions). Yet it is a method which offers many possibilities, particularly in respect to giving research participants more agency and power in the research process than is the case in traditional qualitative data collection approaches such as interviews.

In this paper, we discuss ways of using photographs in research, focusing on the use of photography within participatory research inquiry. We consider ethical and philosophical challenges associated with photography research, as well as its unique strengths. We outline some popular approaches to analysing photographic data. We finish with a brief consideration of how photographs could be used more in HPE research.

The photograph as data

Photography has been described as a silent voice, another language to communicate with and understand others, and a way of accessing complexities which may not be captured by text or oral language [ 16 ]. As instances of Latour’s “immutable, combinable mobiles” [ 17 ]—literally things which do not change but which carry action and meaning across time and place, as objects of memory and of relationship—photographs allow us to see what was “happening” at a particular point in time.

Photographs can be a source of data (photo-documentation and existing images) and a tool for eliciting data (photo-elicitation and photovoice). Each of these approaches are explained below.

Photo-documentation

Photo-documentation has been used in clinical medicine for nearly two centuries [ 18 ] Clinical photographs and images are vital for training purposes, to illustrate a clinical finding, steps in a process or procedure, or for comparative (“before” and “after”) purposes. They are an integral part of patient’s clinical notes in numerous specialties and are also used to offer the patient insight into realized or expected treatment results [ 19 ].

This way of using photographs—as objective records documenting an objective something—is quite different from how photographs are used in social science research. In fields such as sociology and social anthropology, photography has been used as a tool for the exploration of society [ 4 , 5 ]. Photographs help others understand how societies are culturally and socially constructed, to critically uncover the meaning people place on certain activities, places, things and rituals and to record and analyse important social events and problems. It is on this second use of photographs in research that we focus from this point onwards.

Existing images

A second way of using photographs in research is analysis of publicly available images: in other words, analysis of secondary (photographic) data. There are examples of this approach in medical education in relation to the messages given by images on public-facing documents and webpages, and how these might influence student choice of medical school [ 20 , 21 ]. Visual data is also used in research examining the relationships between architecture/space and learning [ 22 , 23 ]. Photographs can show us how people and things relate to each other. For example, what can we learn from a photo illustrating how staff are distributed around a coffee room, or around the table during a morbidity and mortality (M&M) meeting? Documenting the materials of a research space in a photograph serves as a mechanism for tracing the complexity of the field (see Fig.  1 and its accompanying explanation).

A photograph as an elicitation tool. Collected as part of a sociomaterial study to document the material complexity of simulation led by MacLeod. This photograph of a manikin in a typical simulation suite could serve as a useful elicitation tool in a study of simulation. Rather than asking research participants to use their memories to imagine a simulation suite, the photograph provides concrete detail, helping to reorient participants to the space. Rather than using a phrase like “simulation is complex”, the photograph serves as “evidence” of the complexity, documenting multiple non-human elements involved in a simulation at a particular time and place. This clarity can provide a jumping-off point for more detailed and specific conversations about the topic being studied

Photo-elicitation

In photo-elicitation (sometimes called photo production [ 24 ] or auto-photography), the specific area of focus is typically decided by the researcher. The photos are either taken by the researcher or participants.

In researcher-driven photo-elicitation the researcher decides on what people, objects, settings and/or scenes they find interesting or potentially important enough for a picture. These photographs are then used as prompts for discussion within an interview with the researcher. The photo(s) is a prompt to elicit data, akin to an open question in a semi-structured interview. Unlike interview or focus group questions however, participants not only respond to photographs with extended narratives but also supply interpretations of the images, drawing from and reflecting their experiences.

In participant-driven photo-elicitation, control of data collection is handed over to participants who have the freedom to pick and choose the representation(s) which is most salient to them in relation to the question under study. For example, to explore children’s experiences of hospital, Adams and colleagues [ 25 ] asked children to photograph architectural or design features that most interested them in a vast hospital atrium (the hospital’s primary non-medical space, full of shops, restaurants and so on). The children’s photographs were then used as the anchor to dialogue [ 26 ].

Participant-driven photo-elicitation empowers the participant to both choose the image and drive the dialogue about the image. Consider a picture of an alarm clock set to an early hour. This becomes meaningful only when the photographer explains that this image signifies their transition from student to first trained job. While the participant’s perspective on the transition to practice could potentially be accessed using traditional words-alone methodologies, photographs are different because they present what the participant felt was worthy to record, help capture the immediacy of the experience and stimulate memories and feelings. In other words, one of photo-elicitation’s strengths, and how it differs from interviews and focus groups, is its potential to collect data that not only taps into the perspective of the participant but does so at the time of the experience.

Images seem to prompt a different kind of reflection on lived experiences. Harper [ 26 ] suggests that images prompt emotions and thoughts in ways that narrative alone cannot. By seeing what they did, informants may help the researcher to better understand their behaviour. Moreover, by viewing and discussing photos together, the researcher and participant actively co-construct meaning. In this way photo-elicitation offers a way to potentially enrich and extend existing interview methodologies and give a combination of visual and verbal data for analysis purposes [ 27 ]. Furthermore, the act of interpreting an image creates a critically reflective space within the research process which is lacking in interview methods. Leibenberg suggests that “collectively then, images introduced into narrative research create important links that participants can use to more critically reflect on their lived experiences and to more accurately discuss and share these experiences with others” [ 28 , p. 4].

Arguably however, if the main source of data is not the photographs themselves but the transcripts from photo-elicited discussions, this may still privilege participants who are more skilled verbally—maintaining the “linguistic imperialism” of text, or, more accurately, of transcribed responses [ 8 ]. While this criticism cannot be wholly dismissed, the many empirical studies referred to in this paper suggest that photographs help make abstract ideas accessible and encourage reflection in groups which are less literate and who do not routinely engage in reflection. Moreover, there are approaches to data analysis which privilege the image, not the accompanying text (see below).

A specific research method within the bracket of photo-elicitation is photovoice. Developed by Wang and Buriss in 1997, photovoice involves asking community members to identify and represent their community through specific photographs and tell the stories of what these pictures mean, promoting critical dialogue and potentially catalysing social action and change [ 29 ]. Photovoice allows people to see the viewpoint of the people who live the lives, and as such is considered an example of participatory research [ 30 ]. For example, MacLeod et al. [ 31 ] asked adolescent youth to take photographs pertaining to the health of their community. The adolescents created a platform for discussion, and helped the researchers, who were medical students, learn about the community they were serving. Photovoice is often used to access and explore patient experiences, particularly mental health and experiences of serious and/or life-threatening illness [ 12 – 14 ].

The ease of taking photographs with a mobile phone has opened up new ways to utilise the photovoice methodology, particularly the method of “time-space diaries” [ 32 ] or digital journals. Participants record what is meaningful to them across time and activities, such as what and where they ate over a full day, or salient events in the first few weeks of medical school. Just like non-research social media activity, a series of images can provide insight into real, lived experiences and give participants a voice to reflect on their everyday lives on issues relevant to the research topic. Consider a resident taking pictures of things and people who were significant to their first experience of a full weekend shift. The nature of the images may change over time, reflecting exposure to different patients, working with different colleagues, task demands and fatigue.

In summary, the nature of photographs as data varies according to who produces them, whether they are independent of the research or created specifically for the research, how they are used in the research process and whether they are used in conjunction with narrative (verbal) data. These key decisions can be synthesised, according to Epstein et al. [ 33 ], into three basic questions:

• Who is going to make or select the images to be used in the interviews?
• What is the content of the images going to be?
• Where are the images going to be used, and how?

How photographs and accompanying narratives can be analysed is discussed next.

Data analysis

There are two main ways of approaching photographic data analysis. The first, the dialogic approach, focuses on analysing the verbal or written reflection on the content of photographs and what they symbolise. This approach is fundamentally constructivist, “locating visual meaning as foundational in the social construction of reality” [ 34 , p. 492]. Traditional ways of analysing verbal/transcribed data such as thematic analysis [ 35 ], content analysis [ 36 ], grounded theory [ 37 ] and various forms of discourse analyses [ 38 ] are appropriate for analysis of photograph-prompted dialogue. In this approach, the photographs themselves are usually used merely for illustration purposes, if at all [ 38 ].

Alternatively, the data can be within the photograph itself, separate from its capacity to generate dialogue and independent of any explanation. Photographs can provide new ways of seeing the phenomena under study from their visual features. For example, in their analysis of existing images on medical school websites and prospectuses in 2019, MacArthur, Eaton and Marrick [ 21 ] recorded information including gender, ethnicity, assumed role and setting, of each person on each image. They found a predominance of hospital-themed images, compared to few community-themed images. They concluded that these images signalled to students a strong preference for hospital-based settings, despite a strong national drive to recruit more general practitioners.

This approach to analysis is referred to as “archaeological” because images inherently reflect the social norms of a point in time. Consider your graduating class photograph. Clothes and hairstyles which were chic at the time may look old-fashioned and incongruous when viewed many years later. In this way, photographs contain “sedimented social knowledge” [ 34 , p. 502], manifest through the photographer’s choices of scenes, subjects, styles, compositions and so on. An educational example of this is presented in Photograph S1, found in the Electronic Supplementary Material (ESM).

Grounded, visual pattern analysis (GVPA) combines both approaches [ 39 ]. Via a structured, multi-step process of analysis, GVPA investigates the meanings individual photographs have for their photographers and also attends to the broader field (sample) level meanings interpreted from analysis of collections of photographs. Paying attention to absence (what is not photographed) is also important [ 40 ]. The analysis process ends by building conceptual contributions rather than purely empirical ones from the photographic data (see Photograph S2 in ESM).

Whichever analysis approach is taken, as with any qualitative research, it is important to consider quality and rigour in respect to the credibility, dependability, confirmability and transferability of the data [ 41 ]. Providing details of the sampling strategy, the depth and volume of data, and the analytical steps taken helps ensure credibility and transferability. Photo-elicitation allows participants to work with and direct the researcher to generate data that is salient to them, thereby increasing the confirmability of research outcomes. Allowing participants to clarify what they meant to convey in their photographs is inherently a form of member checking. As for all research, ethical considerations should be considered and addressed, as well as a clear statement made on formal research ethics committee approval or waiver. Thought must be given to the power relationship between researcher and participants and how this might affect recruitment, the nature of the data and so on. Reflexivity, reflecting on the extent to which similarities or differences between researcher and researched may have influenced the process of research, is particularly critical in photo-elicitation studies [ 42 ]. Keeping written field and methodological notes as well as a reflexive diary is important for dependability and confirmability.

Finally, in terms of data presentation, in our discipline most journals have a limit on the number of tables, figures and/or images allowed per paper, and most do not publish colour photographs. This limits the visual data which can be presented in an article. However, journals also offer the option of supplementary e‑files. We suggest that one or two pictures in an article can support key evidential points, with additional data made available electronically.

Ethical considerations associated with photographs in research

As with any method, care must be taken to ensure the proper use of photographs for research purposes. Here we briefly consider the main ethical issues of power, informed consent, anonymity, dignity and image manipulation. We direct readers to Langmann and Pick [ 43 ] for more in-depth discussion.

In any researcher/participant situation, there is a power dynamic that privileges the “expert” researcher over the object of study, the participant. Certain ways of using photographs in research, specifically photo-elicitation, can change this dynamic and empower participants by giving them an active role in the research process, making them the experts, and allowing the researcher greater insight into participant perspectives [ 29 , 30 ]. Photo-elicitation also gives those who are not verbally fluent another way to express themselves effectively, avoids the use of survey questionnaires and other research instruments that might be culturally biased, and places participants as equals—able to reflect and decide how they want to represent themselves visually [ 43 ]. Photo-elicitation is thus firmly rooted in an approach to inquiry that draws on Paulo Freire’s (1970) critical pedagogy [ 44 ] and fits within the broader participatory action research method [ 29 , 30 , 37 – 40 , 45 ].

The use of mobile phones for data collection is considered a way of connecting younger groups with research [ 46 ], connecting with populations in more remote and rural communities across the globe [ 47 ] and with “difficult to reach” populations (e.g., [ 14 ]). However, it is important to again acknowledge the “digital divide” and the associated power differential: marginalised populations and certain societal groups may not have access to equipment to take and share photographs. Where this is the case, the researcher must consider whether to supply the necessary equipment or whether an alternative method of data collection is more feasible.

Informed consent

Informed consent is particularly challenging with photographs. It is difficult to ensure that every person in an image has given their consent to the photo being taken and used for research purposes. Where images are participant-generated, clear instructions about the purpose of the research and the photographs, and the processes of ethical consent, are essential [ 48 ].

Confidentiality

Confidentiality is an issue, particularly if a photograph includes a person’s face. Faces can be pixelated or blurred to protect participants’ identities, but these approaches may objectify the people in the photo and make the photographs less powerful [ 48 ].

Our third point relates to dignity. Langmann and Pick [ 43 ] suggest three ways of considering dignity in research photography: being sensitive to the social and cultural norms of the communities being researched, being aware that those who are the focus of the research will benefit by the presentation of an authentic view of the situation and considering the impression the photograph will give if and when it is published. In all cases, it is the researcher’s responsibility to exclude photographs which are not covered by ethical approvals, as well as any potentially harmful or compromising photographs.

Photographs can mean different things to different people [ 24 , 49 ] and meanings may change over time, depending on context and how they are associated in terms of text and other images (for example, one’s interpretation of a photograph taken as a teenager is likely to differ when viewing it as an adult). This ambiguity makes some researchers uncomfortable. However, if one takes a social constructivist stance, that we live in a multi-reality world, then this possibility of multiple meanings from a photograph adds to the data.

Conscious and unconscious “self-censorship”, including when, where or what to photograph, or editing a photo to convey an intended message, is inherent in photo-elicitation [ 45 ]. However, self-censorship is not an issue if one accepts that the purpose of photo-elicitation is to access the social reality of another individual.

Strengths of using photographs in research

Participation and co-construction.

As mentioned earlier, photo-elicitation and photovoice maximise opportunities for participant agency and engagement in the research process, allowing participants to work with and direct the researcher. Furthermore, in dialogic approaches, research involves a joint process of knowledge-production where narratives are co-constructed between participant and researcher through discussion. By using participant-driven photographs, the researcher gains an understanding of what the content of the photos means to the participants without imposing their own framework or perception of a topic on the process.

Participatory research requires trust, a safe space between participant and researcher, so people can express their thoughts and views. Wicks and Reason [ 50 ] suggest that establishing this safe space must be considered throughout the research process: empowering participants in the earlier stage of the research process can also build the connection and trust between researcher and participant—and reduce participant inhibition later on. This may be particularly useful where the topic is sensitive or taboo. For example, Meo [ 51 ] reported photo-elicitation was useful in tapping “class and gendered practices” (p. 152) in greater depth than with interviews alone.

Giving power to participants within the research process can be challenging for researchers. Adjusting to participants as co-researchers may be new and unfamiliar. Continuous flexibility and reflexivity on a personal (e.g., personal assumptions, values, experiences, etc. that shape the research) and epistemological (e.g., the limits of the research that are determined by the research question, methodology and method of analysis) considerations are critical [ 52 ].

Photographs provide structure to an interview, giving the researcher something to return to, to elicit more detailed discussions and/or trigger memories and reflection [ 53 ]. In addition, participants often give information about people or things outside of the photo (the invisible) as well as on who and what are visible [ 52 ]. Similarly, the researcher may be able to access parts of participants’ lives that would be difficult to see into otherwise. For example, Bourdieu argues that visual methods of research may be particularly helpful in investigating habitus, ways of being, acting and operating in the social environment that are “beyond the grasp of consciousness” [ 54 , 55 ].

Snapshots in time and of space

As mentioned earlier, photographs are inherently snapshots in time. They also provide snapshots of space, a means of examining the material assemblages of space, of how things are ordered and used [ 56 ]. For example, a photo of students in a learning space would illustrate who sits with whom, the spatial relationships between humans (e.g., student and student, students and teachers) and the non-human (e.g., bags, laptops, phones, snacks) (see Fig.  2 as an example).

An example of a photograph representing the assemblage of time and space: Students distributed in the space of a contemporary learning suite. Photograph from a publicly facing webpage on a medical school website. This photograph provides an example of how a photograph captures space and time. It provides a glimpse at a contemporary medical school. The photograph serves to document the complexity of modern medical schools, making clear the digitized learning environment. Such a photograph might evoke emotion and a sense of progress, in particular, when contrasted with more traditional images of students learning in a stadium-style lecture theatre

Applications and opportunities

Looking forward, we encourage researchers to consider the use of photographs as a source of data, as a way of accessing data that might otherwise have been obscured or overlooked if we had relied solely on language-based data. We encourage readers to consider what might be learned were we to augment current understanding by incorporating photographic data sources into healthcare professions research. In Table S1, found in ESM, we suggest some outstanding research questions and topics that could be explored. The list found there is by no means exhaustive. Rather it reflects our own interests and observations and should be regarded as a springboard to help readers consider diverse ways in which photographs may add richness in research endeavours.

There are many ways of conducting qualitative research in health professions education research (HPER). All have their affordances and limitations. In this article, we have offered a critical examination of how photographs can be used to generate rich and potentially different data to that generated through talk-only data collection. Using photographs in HPER research opens up new vistas of research possibilities, whether as a means of accessing snapshots of people and situations in time and space and/or as a means of engaging participants collaboratively, to explore taken-for-granted lived experiences which may not otherwise be accessible. This is a fertile area for future research and the empirical potential is vast, ranging from reflective practice to widening participation to questions which are as yet unknown.

Acknowledgements

This paper was inspired by JC’s move to Singapore, a society which uses photographs rather than text in all spheres of life—as proof of payment or parcel delivery, to illustrate a point, to share information, to advertise an event, etc.

The authors neither sought nor received any funding for this project.

Author Contribution

JC suggested and coordinated this collaborative effort, initiated the writing outlines and drafts. AM helped create and revise outlines and drafts. Both authors contributed significantly to the intellectual contents, gave approval of the version to be published and agree to be accountable for the work.

Declarations

J. Cleland and A. MacLeod declarethat they have no competing interests.

This is not applicable as no human or animal subjects were involved in the creation of this paper.

The University of Texas Rio Grande Valley

News Release | Research

From Bottle to Beach: How Your Last Glass Drink Could Be Saving Coastlines

UTRGV researchers are turning everyday glass waste into a possible innovative solution – glass sand – for coastal erosion and to be used in sustainable agriculture. Pictured is pulverized recycled glass. (Photo courtesy of Glass Half Full Company in New Orleans, LA)

UTRGV part of a groundbreaking research project that repurposes glass waste, potentially fortify coastlines, and revolutionize ag practices

  Wednesday, August 21, 2024   Research, Science and Technology, Faculty Focus, Alumni

By Amanda A. Taylor-Uchoa

RIO GRANDE VALLEY, TEXAS / NEW ORLEANS, LOUISIANA – AUG. 21, 2024 – Did you know that the glass bottle from your favorite drink could one day help preserve coastlines, or has the potential to grow crops? 

At The University of Texas Rio Grande Valley, researchers are turning everyday glass waste into a possible innovative solution for coastal erosion and to be used in sustainable agriculture. The projects will not only transform recycled glass into a shield against the forces of nature, but also evaluates its potential as a novel agricultural medium – proving that your glass bottle’s next life might just be its most impactful yet.

These two separate initiatives aim to combat coastal erosion, particularly on South Padre Island (SPI), by utilizing the recycled glass sand as a sustainable alternative in beach nourishment and dune restoration efforts, and by investigating the use of recycled glass in agriculture for aiding in food disparities through the production of crops.

REVITALIZING COASTLINES WITH RECYCLED GLASS

Spearheaded by Dr. Julie Vanegas – an assistant professor in UTRGV’s College of Science and director of the Nanoworld Vanegas Lab , and in collaboration with the New Orleans-based ReCoast and Tulane University – the initiative delves into the core characteristics of recycled glass, assessing its viability for ecological restoration.

The collaboration traces back to foundational research at Tulane University, where Vanegas contributed significantly during her postdoctoral tenure.

Dr. Julie Albert , associate professor at Tulane and principal investigator on the NSF Convergence Accelerator Track E Award for Glass Recycling for Coastal Restoration , said the groundwork laid during the initial phases of the project at Tulane was instrumental.

“Professor Vanegas’ early work on glass sand composition and angularity was pivotal, and it was natural to keep her involved as we moved to Phase 2 of our research," Albert said.

She believes the seamless integration of the research could have broader environmental impacts in the future. 

“Our collaboration has not only advanced our understanding of material science, but also positioned us to address crucial environmental issues through innovative uses of recycled materials," she said.

The lab's comprehensive studies – employing advanced elemental analyses such as X-ray fluorescence ( XRF ), X-ray diffraction ( XRD ), Scanning Electron Microscopy ( SEM ), and thermogravimetry ( TGA ) – are pivotal in ensuring the safety and effectiveness of recycled glass sand in environmental applications.

“We meticulously analyze the glass to determine its suitability for recycling,” Vanegas said. “For example, while older glass with contaminants like lead is unsuitable, newer, cleaner glass can be crucial in coastal restoration and even in cutting-edge nanoscience projects.”

The recycled glass sand helps combat erosion, providing a resilient barrier against storm surges and rising sea levels, as well as enhancing coastal ecosystems by contributing to their preservation and resilience.

Samantha Tamayo, who recently graduated from UTRGV with her Bachelor of Science degree in Biology and a research assistant in the Nanoworld Vanegas lab, said that working with recycled glass has made her realize the enormous impact of socioenvironmental issues glass waste has at a global level, like ocean acidification, land degradation, and species endangerment. 

“Restoring the U.S. coasts with recycled glass sand is a good approach to diminish the effects this glass waste has in the first place while addressing erosion and dune degradation of our beaches, which work as defense against high-tides and storm surges,” Tamayo said.

“Since we are in the research phase of this project related to SPI, I hope that in a near future I can see our local beach in the restoring process; this would promote the importance of recycling, while envisioning the huge changes we can make in our community, encouraging students to be part in this type of research.”

MIXING INNOVATIVE AND TRADITIONAL MATERIALS

Dr. David Hicks , a professor in the UTRGV School of Earth, Environmental, and Marine Sciences (SEEMS), stresses the global relevance of this work.

“Erosion is a significant issue, especially with the ongoing threats of sea-level rise and climate change impacts,” Hicks said. “By innovatively using glass, essentially a form of sand, we are taking a proactive approach to mitigate erosion at South Padre Island, and potentially at other vulnerable coastal areas worldwide.”

While the implementation of recycled glass sand has not yet been tested at South Padre Island, testing is in progress to determine the feasibility of these type of endeavors in the future. Glass sand is not meant to replace naturally occurring sand, but it could help fortify it.  

“Recycled glass sand likely will coexist with conventional methods for the foreseeable future,” Albert said. “There is not enough of it to replace all traditional materials. However, with strategic deployment, a little bit of sand can go a long way toward protecting and restoring the environment.”  

The impacts of using glass sand are also being tested on marine life in the event the recycled glass is used on South Padre Island shores for erosion control and coastal restoration.

"So, we had to replicate a beach environment by making a wave tank,” Hicks said. “We put the glass sand into that wave tank, and we have introduced some of the ‘swash zone’ community, such as surf clams. We found that the surf clams were selecting a particular grain size of the glass sand in order to burrow in rather than occurring higher up on the beach."  

The “swash zone” is an area of the beach where waves wash up and back down the shore, critical for various marine organisms that have adapted to the unique conditions of alternating wet and dry cycles.

Hicks said that while glass sand may have some initial differences (like sharper edges), it’s unlikely to harm larger organisms but could have unknown effects on smaller microorganisms.

Preliminary experiments have shown high survival rates for the organisms they studied.

POTENTIAL AGRICULTURAL INNOVATIONS

Beyond coastal conservation, the UTRGV side of the project also is investigating the use of recycled glass in agriculture, with researchers exploring the feasibility of glass sand as a substitute for soil in growing crops like cilantro, bell peppers and jalapeños. This novel approach not only addresses the global decline in arable land, but also enhances the sustainability of agricultural practices.

Being a nanomaterial scientist who had knowledge in the use of recycled glass for coastal erosion, Vanegas was paired with Dr. Teresa Patricia Feria Arroyo, a UTRGV professor in the School of Integrated Biology and Chemical Science and ecologist who researches food security and sustainability.

"Science should benefit people, and this research is giving us direct results that can impact food security,” Arroyo said. “If we can address food security issues in local settings – issues with global significance – then what we accomplish here can be replicated in many other places."

Vanegas and her team are closely monitoring the effects of glass sand on test crops currently being grown in buckets. 

“Our crops are thriving, demonstrating that recycled glass can effectively support plant growth, potentially even more efficiently than traditional soil,” Vanegas said. 

Vanegas stated the success underscores the potential of recycled glass to revolutionize agricultural methodologies, particularly in regions suffering from soil depletion or contamination. 

A chemistry graduate student who works with Vanegas in the Nanoworld Vanegas lab, Andrea Quezada, presented the findings at the American Chemical Society (ACS) Fall 2024 meeting in Denver, Aug. 18-22. Quezada said she is most interested in the possibility of integrating glass-based soils into farming practices in the Rio Grande Valley and beyond.

The research could lead to sustainable agricultural practices that address both food security and environmental conservation, she said.

"I believe the conversion of a cyclic recyclable material, like glass, to a material with the same characteristics as sand will be profoundly impactful in the coming years,” Quezada said. “Sand plays a crucial role in human industrial development, but it is being depleted at a high rate. This research could serve as a strong foundation for future projects, advancing sustainable practices that target climate change and reduce landfill waste."

While the proactive initiative has not been assessed at local farms yet, the research team continues to conduct extensive evaluations on the performance, safety, and environmental impacts of using recycled glass as a growing medium. Their studies include assessing nutrient content, growth rates and overall plant health, and provide crucial data that could influence future agricultural practices around the world.

GETTING THE COMMUNITY INVOLVED

But the recycled glass project is not just about environmental research; it is also about community integration and educational outreach. Vanegas said UTRGV aims to establish a recycling plant in the future that will serve as a hub for community engagement and educational initiatives, promoting sustainability across the Rio Grande Valley.

“The broader vision is to launch a significant initiative here at UTRGV that not only supports recycling and sustainability, but also incorporates extensive educational programs for our students and the community,” she said. 

That includes plans to apply for a $1 million grant to kickstart the recycling plant, setting a precedent for future blue economy initiatives – the sustainable use of ocean resources for economic growth – in the region. 

The project’s reach is extending beyond local boundaries, with entities like the ACS expressing interest in the initiative for the pilot study on using recycled glass in agriculture and showcasing the research at the annual ACS Fall 2024 meeting.

“They sent out a press release about our agricultural findings with recycled glass, which could further spotlight our innovative approaches,” Vanegas said.

A SUSTAINABLE FUTURE IN SIGHT

As UTRGV continues to collaborate and expand on its glass sand research, the potential for its global impact grows. Ongoing developments in the project are paving the way for possible new methods of ecological conservation and food production, potentially setting new standards for sustainability practices worldwide. 

Through the collaborative efforts of Vanegas, Hicks, Arroyo, and their research teams, along with the partnership with Tulane University, the research continues to help turn environmental challenges into opportunities for innovation and sustainability. 

"It's not just about recycling glass; it's about creating a project that benefits the entire community,” Vanegas said. “We want to build something big here at UTRGV – something that not only addresses environmental issues, but also involves and empowers our students and the broader community."

ABOUT UTRGV

The University of Texas Rio Grande Valley (UTRGV) was created by the Texas Legislature in 2013 as the first major public university of the 21st century in Texas. This transformative initiative provided the opportunity to expand educational opportunities in the Rio Grande Valley, including a new School of Medicine, and made it possible for residents of the region to benefit from the Permanent University Fund – a public endowment contributing support to the University of Texas System and other institutions.

UTRGV has campuses and off-campus research and teaching sites throughout the Rio Grande Valley including in Boca Chica Beach, Brownsville (formerly The University of Texas at Brownsville campus), Edinburg (formerly The University of Texas-Pan American campus), Harlingen, McAllen, Port Isabel, Rio Grande City, and South Padre Island. UTRGV, a comprehensive academic institution, enrolled its first class in the fall of 2015, and the School of Medicine welcomed its first class in the summer of 2016.

  Facebook

  Twitter

  Instagram

  Headlines Archive

  Subscribe

GoDog Research Triangle Park

Updated a few days ago

Location & Hours

Suggest an edit

2612 S Miami Blvd

Units 101-106

Durham, NC 27703

Serving Durham Area

Amenities and More

Ask the community.

Ask a question

Yelp users haven’t asked any questions yet about GoDog Research Triangle Park .

Recommended Reviews

An official website of the United States government

Here’s how you know

Official websites use .gov A .gov website belongs to an official government organization in the United States.

Secure .gov websites use HTTPS A lock ( Lock A locked padlock ) or https:// means you’ve safely connected to the .gov website. Share sensitive information only on official, secure websites.

2024 CELC Youth Summit: A week of learning and fun

The Coastal Ecosystem Learning Centers (CELC) network held their first in-person Youth Summit at the South Carolina Aquarium in Charleston on July 24-27, 2024. They heard from speakers, took part in a local conservation project, and began planning how to apply their new knowledge back home. 

Thirty-four teens attended, representing seven aquariums: Aquarium of the Pacific offsite link , Audubon Aquarium offsite link , Mystic Aquarium offsite link , New York Aquarium offsite link , Oregon Coast Aquarium offsite link , Shedd Aquarium offsite link , and South Carolina Aquarium offsite link . The summit prepared teens for a year of environmental action in their communities.

The summit was organized and coordinated with the significant input and contributions from the Youth Planning Team, a group of young leaders from across our partner aquariums and funded through eeBLUE offsite link , a partnership between NOAA’s Office of Education and the North American Association for Environmental Education (NAAEE). Keep reading to hear what the summit was like from the viewpoint of one of the Youth Planning Team members, Linda Garzeria.

A night at the aquarium

T’Noya Thompson (Ph.D. candidate and consultant, Wild Spark Consulting and NAAEE) kicked off the Youth Summit with a talk on how to master the art and science of leadership and followership. Then the teens explored the South Carolina Aquarium on a scavenger hunt organized by the South Carolina Aquarium interns. At the same time, the invited speakers and adults from the aquariums, NAAEE, and NOAA took a moment to reflect on the value of the ocean and their role in empowering young people to do the same. The evening was wrapped up with tacos and a young professionals panel. Kayla Mladinich Poole, Ph.D., (Knauss Marine Policy Fellow, NOAA Office of Education), Kaleigh Ballantine (Communications Specialist and Graphic Designer, NOAA Office of Education), and Shelley Shrader (Teen Programs Coordinator, South Carolina Aquarium) discussed their different career paths and answered questions from the teens.

A day of learning

On the second day of the Youth Summit, teens spent the day engaging with and learning from speakers recruited by the Youth Planning Team. The speakers discussed a variety of topics, including workforce development in clean energy, first-hand experiences with the fallout of extreme weather events, and communicating your climate story. The day was full of interactive workshops, where speakers had the teens think through their personal career goals and what to consider when designing an action project. After a full conference day, the speakers and teens took some time to craft, play games, and network. 

Teens spent a day at the CELC Youth Summit listening and engaging with the invited speakers. (Image credit: Karson Photography)

Liberty Boyd (left) is finishing up her Ph.D. at Florida International University studying marine ecology with a focus on sea turtles. She spoke to the teens about the importance of finding your “why” as a young adult in the marine career field. Liberty was recruited to speak by Youth Planning Team member Nevaeh Thomas (right, South Carolina Aquarium). (Image credit: Kayla Mladinich Poole/NOAA)

Jill Henck (right, Director of the Adirondack North Country Association’s Clean Energy Program) was recruited to speak about workforce development in clean energy by Youth Planning Team member, Alice Chen (left, New York Aquarium). They were able to connect and craft together after a fun day of learning! (Image credit: Alice Chen/New York Aquarium)

Youth Planning Team member Linda Garziera (left, South Carolina Aquarium) recruited Tamara Butler, Ph.D., (right, Executive Director, Avery research Center for African American History and Culture) to speak at the Youth Summit. Butler described how generations of women on three continents and two islands taught her about love and land. (Image credit: Shelley Shrader/South Carolina Aquarium)

Sean Russell (right, EarthEcho International) was recruited by Youth Planning Team member Arianna Madlock (left, Shedd Aquarium) to talk about how youth leadership is critical in ocean conservation and restoration efforts. (Image credit: Kayla Mladinich Poole/NOAA)

Youth Planning Team member Ava Casey (middle, South Carolina Aquarium) invited Toby Cox (left) and Jonah Chester (right) from the Post and Courier offsite link in South Carolina to lead a workshop on climate storytelling. (Image credit: Kayla Mladinich Poole/NOAA)

A day of action and fun

On the third day of the summit, the teens toured the South Carolina Department of Natural Resources Marine Resources Center and the NOAA National Centers for Coastal Ocean Science Hollings Marine Laboratory before taking part in an oyster reef restoration project. Linda Garziera, South Carolina Aquarium Youth Planning Team member, shares her experience in her own words here.

As a group, we set off for Fort Johnson, bright and early, to explore the South Carolina Department of Natural Resources (SCDNR) Marine Resources Center and get our hands dirty with some conservation work. The morning started with tours of the various facilities, labs, and indoor classrooms, and allowed us teens to see some graduate student research in action. We were invited to the College of Charleston Grice Marine Lab, where we handled some local species and saw the extensive wet specimen library — a vast room not unlike ones found in sci-fi movies. This effect doubled when, inside the Hollings Marine Laboratory, moving down white-walled corridors past soft whirring of machines, we were brought to the National Institute of Standards and Technology Biorepository facility, a part of the lab that uses liquid nitrogen to achieve long term-archival of specimens for past and present environmental health analysis. At every corner, our curiosity magnified. We met with a number of passionate NOAA scientists including those working with scanning electron microscopes, experts in fish breeding and population care, harmful algal bloom analysts, and coral “doctors” who brought us to a quiet, blue-lit room rich with rare and healthy corals. 

Inspired by the tours and fueled by a quick lunch, we dove right into the conservation project, building manufactured wire oyster reefs for the SCDNR. The oyster reef build started on two unsure feet. There was a storm threatening to hit Charleston, and we were anxious to learn how to use the power tools before us. But with our teamwork, resilience, and great demonstrations from AmeriCorps volunteers, everyone was soon manning the wire press, the stapler gun, and big wide nets with ease. We fell into routine bending the metal mesh into shape, filling buckets with oyster shells, passing tools to one another. Everything smelled of rain, mud, and sweet coconut husk. By the end of the afternoon, the teams of aquariums, speakers, and facilitators had made 26 reefs — enough to give home to 300 species, encourage spat settlement, and combat oyster depletion from the South Carolina coast. We piled up our oyster reefs in the rain and celebrated our efforts with some very proud aquarium educators. 

Before heading home…

The teens sat down with their aquarium team leads and brainstormed ideas for action projects. Everyone took some time to reflect on what they learned, how it made them feel, and the connections they made with their peers and the invited speakers. Now that the summit is complete, the aquarium teens will begin a community needs assessment to determine what action projects would benefit their community most. Check back next spring to see what these amazing youths were able to accomplish!