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Photography is used in research because of its appeal for communicating, expressing feelings, sharing experiences, raising new awareness of participants and potential audiences, clarifying social issues, and framing plans for action. Taking and sharing photos has become easier particularly because of ready access to devices with cameras. Yet, using photographs in research can undermine anonymity and confidentiality (Noland, 2006), and unanticipated unauthorised dissemination of digital images raises ethical concerns for researchers using photography in their research methods (Brigham, Baillie Abidi, & Calatayud, 2018). In this chapter, the authors discuss the participatory photography method and provide practical suggestions for carrying out ethical research using participatory photography. The authors highlight the cultural, social, and contextual situatedness of ethics by drawing on our own research project with youth with refugee experience.

This chapter discusses ethics in participatory photography with focus on refugee participants and informal refugee camp setting. The chapter draws on ethics in participatory photography projects elsewhere and especially the experiences of photographers who work with these methods. The context here is the Calais Jungle camp, where the authors worked with a group of participants, who were residents of the camp, over several months to encourage photographing and documenting life in the camp and beyond, and to work on life stories that can be drawn from and inspired by these photos. The project, and hence the ethics in our work, were framed by the experiences of the refugee participants, and so at all times the authors needed to navigate temporality, violence, state oppression, lack of resources, human rights violations, language barriers, religious and cultural differences, national and supranational immigration policies, shame, and more. This chapter discusses how the authors navigated these ethical issues, the limitations of the approaches and solutions they found, and the lessons they learned, which can be applied to research using participatory visual methods with refugees.

Tackling the social exclusion of people with mental health problems is a primary concern for contemporary mental health services. A social inclusion network was developed to co‐ordinate a small participatory project arising as part of a practice development initiative. It aimed to examine the experiences of involvement in the community from the perspectives of those using and working in rehabilitation adult mental health services.To gather information three different approaches were used. Networks between rehabilitation services and community resources were identified using a mapping tool whilst focus groups were used to gain more in‐depth perceptions from rehabilitation staff. Finally, a participatory photo project was conducted which involved working with people who use services to capture images of their involvement in their local community. This article reports on the outcomes of the focus groups and photography project.Findings suggested that services reported some success at developing partnerships within the community, but discrimination still remained a significant obstacle. For those people living in the units, social inclusion was an acutely subjective experience in which people continued to experience acceptance and inclusion within mental health services and had made active choices in defining this as their community.

Drawing on findings from the project ‘Walking around with our cameras’ (2014–16), this chapter explores educative and methodological implications of arts-based research. The project on which this chapter is based was conducted in Bilbao (Spain) by two local organizations: Sala Rekalde, a contemporary art gallery; the Institute of Human Rights of Deusto University, a local artist and a group of migrant women. Analysis of this project offers insights into the ways that artistic practices afforded unique opportunities for migrant women to reconstruct and represent their migratory experiences. This chapter sheds light on the ways that participatory arts-based research can move across disciplines and enhance effective achievement on collaborative projects that work to give voice to the voiceless.

This paper examines the potential of photography as a design thinking method to develop innovative food experiences that improve food well-being.

This paper is a critical review of research using photography to examine the complex physical, emotional, psychological and social relationships individuals have with food at personal and societal levels.

The conceptual legitimacy of photography is well-established in the social sciences but has been missing from design thinking practices. Photography is particularly well suited to understand the highly visual practice of food and to design innovative food experiences.

Practical and ethical issues in the use of photography are considered as a research tool. Future research should examine photography as an integrated tool in the entire design thinking process.

A table of photographic research methods for all stages of design thinking, from empathy to prototyping, is presented. Best practices for the successful implementation and interpretation of photography in food design thinking are discussed.

Photography is a uniquely inclusive and accessible research method for understanding the social problem of food well-being and designing innovative food experiences.

To the best of the authors knowledge, this paper provides the first conceptual foundation for the use of photography in design thinking. The paper identifies novel photographic methods that can be used to understand problems and generate solutions. It provides guidelines to successfully integrate photography in the design of innovative food experiences that improve food well-being.

Photographs have been used in ethnography for some time now; Pink (2001, p. 49) has argued that the camera has become a ‘mandatory element’ of the ‘ethnographer's toolkit’. Photographs were primarily used in ethnographic studies as mere illustrations or to add authenticity to the written text (Davies, 1999). But as time has progressed, the photograph has moved from the ‘sidelines’ of ethnography to claim a more central position. One of the first studies to use the visual as a central method in the ethnographic process was the study ‘Balinese Character’ completed by Bateson and Mead (1942). Davies (1999) reports that their use of the visual was central to the research process; it was as much a part of the collection of data as it was the analysis and the final written report. Pink (2001) suggests that due to these advances in visual research it is now possible to speak of a ‘visual ethnography’.

This chapter serves as an introduction to the key themes found within the volume Ethics and Integrity in Visual Research Methods, and provides a rationale for the volume’s focus on photography and film media. Drawing from other literature, the author discusses the significance of indexicality and visual language when working with photography and film in research contexts, and describes how these considerations set photography and film apart from other forms of visual data. The chapter concludes by outlining the format of the volume, which divides the nine chapters into three key areas of exploration: Voice and Agency, Power and Inequality, and Context and Representation.

The purpose of this paper is to present a typology of the treatment of ethical issues in recent studies using visual participatory methods with immigrants and refugees and provide insights for researchers into how these issues can be more adequately addressed.

The paper presents the results of a scoping study as a typology of ethical considerations, from standard IRB approval to complete ethical guidelines/frameworks for research with refugee/migrant populations.

The review reveals that there is a broad spectrum of ethical considerations in the use of visual participatory methods with migrants, with the majority only giving cursory or minimal attention to the particular vulnerabilities of these populations.

This paper encourages university-based researchers conducting participatory inquiry with migrant populations to engage in deeper critical reflection on the ethical implications of these methods in keeping with PAR's ethico-onto-epistemological roots, to make intentional methodological choices that are congruent with those roots and to be explicit in their description of how they did this as they disseminate their work.