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In 1984 the number of photographs taken by people in the U.K. broke the 1 million mark and 75% of all households had a camera. By the end of the millennium (1999) people in Britain spent over 1 billion on cameras, film and processing and the number of photographs taken had exceeded 3 billion.¹ There is little doubt that most people are familiar with cameras, and the majority will be engaged in forms of photographic practice as amateurs, that is as a “pastime” or hobby or as an adjunct to events, activities and leisure in their everyday lives.

Evergon’s Manscapes, accompanied by titles that do not provide exact locations of the places he photographs, accord respect to these spaces and in doing so preserve their status as commonplace images. In documenting those locales where gay desire is enacted on a daily basis, the Manscapes speak to the theme of “the everyday.” These everyday photographs provide testimony, not, obviously, in the formal and legal sense of the term, but rather in fidelity to the archaic meaning of the word as indicating: “a solemn protest or declaration.”⁶ To gaze at these images is to be drawn into spaces of gay resistance, to vicariously inhabit beat and cruising ground space, to behold signs of resistance. For the Manscapes are profoundly allegorical. Upon viewing these images for the first time they appear unremarkable, almost mundane in their depiction of common scenes (parks, foreshores, secluded hinterlands and other public spaces). As the clues in the photographs are identified, the viewer imbues the photographs with an aura of desire.⁷ In their totality, the Manscapes testify to the existence of those everyday places that are subject to processions of desiring male bodies.

This chapter explores notions of authenticity in terms of the photographs taken by tourists while on holiday. Some tourists photograph attributes of the host’s culture that they perceive as “authentic”, while ignoring, editing, or erasing aspects that conflict with their “imagined” views. Drawing upon methods of participant-informed photo-ethnography used in a study of US tourists’ holiday photographs of Ireland, tourists will be resituated in this chapter as “editors” in their own photographic reproductions of place. Moreover, by focusing attention to how they confer meaning on destinations and the people who live in them, through the embodied performance of photography, this chapter explores tourists’ notions of authenticity.

There are several contenders for the title of being the “pioneer of photography,” of which in France, Louis Jacques Mande Daguerre (1787–1851) is the most internationally famous. In Britain, it is widely accepted that although William Henry Fox Talbot (1800–1877) was not the first to produce photographs, he had a major contribution to the development of photography.

Purpose – The purpose of this chapter is to review and categorize how photographs have been used in management research and to provide strategic management researchers with suggestions about how to use photographs to enhance their qualitative research methodologies.

Methodology/approach – We develop a typology of photographic uses in management research by reviewing several scholarly journals.

Findings – We identify two dimensions that differentiate how photographs have been used in management journals. First, photographs can be used to illustrate scenes from a field setting or they can be interpreted as data. Second, the role of field participants can be one of active collaboration or no involvement in the photographic aspect of the qualitative research project. For instance, field subjects can collaborate in research by aiding in the photo-documentation process and/or aiding in the photo-elicitation process. Choosing which of our four identified photographic approaches represents a critical decision for qualitative researchers interested in incorporating photographs in their research.

Practical implications – We suggest ideas for strategic management researchers related to use of photographs in their research. Also, we describe how specific strategic management research projects can be approached with photography, which we argue can lead to enhanced theoretical contributions.

Originality/value of paper – To date, little has been written in the strategic management field about the use of photography. This chapter provides a succinct review of photographic methods in management research. Moreover, this chapter provides suggestions for how strategy researchers, study participants, and interested readers of management research could benefit from incorporating photographs into research accounts.

This chapter offers a symbolic perspective on the Egyptian Revolution. It does so by analyzing the transformation of Khaled Said, a 28-year-old Egyptian man beaten to death by police on June 6, 2010, into a key visual injustice symbol. Activists were motivated by a horrifying cell phone photograph of Said taken by his family at the morgue and uploaded on the web. Although the postmortem photograph had a powerful emotional impact in itself, the transformation of Said from local/particular incident to injustice symbol with society-wide repercussions cannot be explained by its mere availability in the public sphere. The transformation required intervention and appropriation by activists who creatively and strategically universalized the case, linking it with existing injustice frames in Egypt. This chapter analyzes this interplay between photographs, activism, and society in two steps. The first provides an analysis of the genesis of the Said symbol and identifies three levels of agency in its formation. The second step analyzes the process through which Said was infused with injustice meanings by activists. Providing the first systematic analysis of Said from a social movement perspective, the chapter draws on several data sources that are subjected to interpretive analysis: visual material available on the internet, Facebook pages, and interviews with and accounts by key activists. And it calls for more attention to photographs and symbols in the analysis of activism and points to several historical and present cases with relevance for such an approach.