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In this chapter, the author explores the ethical challenge of preserving participant anonymity when using visual methods in ethnographic research. Referring to her own ethnographic study in post-conflict Northern Ireland, the author explores how social, cultural, and political contexts may accentuate the need to preserve anonymity. The author discusses her rationale for opting not to use photographs in this context and puts forward the case for using participant-produced drawings as an alternative to photographs. Drawings accomplish similar rich benefits as photographs but may ameliorate the ethical challenges inherent in photographic work of maintaining participant anonymity.

Entrepreneurial identity is a complex concept. It has been recognised as a subjective and dynamic socio-cognitive factor which is not stable over time and is part of an iterative formation process. This chapter explores the journey of adopting, implementing and reviewing visual methods, in order to examine entrepreneurial identity, from the researchers’ perspectives. A critical standpoint is offered which explores both the benefits and challenges that presented themselves in the search for rich data.

Significant advances have been made in using applied methodological approaches. These approaches facilitate critical and creative ways to generate new knowledge, encouraging researchers to explore novel research questions which could not be sufficiently addressed using traditional “branded” methodologies. It is important that, in addition to design, researchers consider the most appropriate methods to collect data. The purpose of this paper is to explore the use of the draw and tell method in the context of an interpretive descriptive study.

Given the challenges associated with eliciting responses from adolescent populations, in addition to the use of a semi-structured interview guide, the authors encouraged adolescent participants to produce drawings as part of an interpretive descriptive study.

Despite the fact that drawings are seldom used with adolescents during research interviews, the authors found this method promoted conversation and facilitated deep exploration into adolescents' perspectives.

The authors argue that this creative approach to data collection should be embraced by researchers engaging in applied methodological research, particularly with participants who may be challenging to engage. Drawings, although seldom used with adolescent research participants, can stimulate engagement and facilitate conversations.

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 explore the potential of participant-created comics as a research method through a project to investigate the life stories of British–Bangladeshi women.

The author worked with a group of ten women through a series of workshops exploring their personal and community histories. Each of the women produced a digital comic that represented her story using text in any languages, photographs and drawings.

The experiences of the Graphic Lives project suggest there is considerable unexplored potential for the use of comics creation as a research method when working with community groups that may be considered “hard-to-reach”. A crucial difference between the comics created for the Graphic Lives project when compared to many other visual methods is that they do not seek or attempt to represent a verifiable truth. The project acknowledged and accepted the presence of fictional elements of autobiography and the difficulty in drawing boundaries between fiction and non-fiction. Indeed, this was seen as a strength of the stories as the use of imaginary elements offered participants a way to express emotional truths that they may otherwise have found difficult to convey.

Whilst interviewing participants could be one way to analyse participant-created comics in certain circumstances, this should not simply be the default. In the Graphic Lives project, it was important to accept that participants had already voiced their story in a certain way – using words and images – during the creative process. The project needed to accept and respect their voices as they had chosen to present them and not expect the participants to transform this into something that was more aligned with what the researcher might want to hear. A limitation of this method is the time and resourcing required to undertake such a programme of in-depth work, in addition to the need for close collaboration with community partners.

The paper questions the appropriateness of research interviews when working with many “marginalised” groups. It suggests that alternative methods, such as the comics creation method described, may be a more effective way to engage “hard-to-reach” groups in research.

This research has implications for the involvement of groups who, for a variety of reasons, are often excluded from research. It outlines a method that may be more socially acceptable than more established methods such as interviewing for some groups.

To date, exploration of the potential of comics as method of participatory knowledge construction has been limited. In addition, the use of comics to engage communities in research, especially adult groups who may be more reluctant to participate via traditional research methods, has received relatively little attention. This paper addresses these issues through a discussion of the use of comics creation as the research method adopted in a project working with a group of British–Bangladeshi women in the UK.

This article presents pictorial representation as an innovative and challenging technique for exploring how new and experienced researchers see research and researchers. Pictorial representation provides a means of exploring the various factors that may influence, limit or inhibit researchers in their practice.

Three groups were engaged in creating pictorial representations of either “research” or “researchers”. Groups of new doctorate in Business Administration students, second year PhD students and a network of women academic staff from two UK university business schools described their drawings to their group and engaged in general discussion of the issues raised.

Drawing and discussing pictures allows emotional and unconscious aspects of engaging in research to surface, helping drawers put into words what may be difficult to voice. Such images enrich and enliven the difficult area of research methods teaching and their personal nature helps to “acknowledge the individual in the researcher”.

This paper is based on research with a small number of participants. It focuses on the use of the visual image technique, rather than detailed analysis of the images generated.

We offer the technique to teachers of research methods who can use it to make research methods more interesting and relevant to their students.

The paper outlines an innovative approach to teaching research methods which engages students in discussion about the nature of research, the skills and qualities needed to become effective researchers and assists them to begin the difficult but essential process of reflexivity.