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A composite picture.

University of Glasgow, 19 th June 2014 . A composite picture. Using photography in research with young participants: a critical review. Giovanna Fassetta. Overview. The project The technique Why photography? The issues faced Children’s view on the technique Summary. The project.

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A composite picture.

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  1. University of Glasgow, 19th June 2014 A composite picture. Using photography in research with young participants: a critical review Giovanna Fassetta

  2. Overview • The project • The technique • Why photography? • The issues faced • Children’s view on the technique • Summary

  3. The project • Research questions: • How do children imagine countries they do not know directly but to which they have links through significant others? • How do young people assess their imaginings and expectations in the light of the encounter with reality? • Techniques: • Focus groups • Photography • Individual (unstructured) interviews • Participants: • 41 children between 10 and 15 years of age • (30 female, 11 male): • 13 children left behind; 15 migrant children; • 13 children born in Italy of Ghanaian parents • 6 schools

  4. The technique • Child-led (participant-led) photography (Participant-driven photo-elicitation; auto-driven photography, etc.) • Technology: disposable cameras • Choice whether to take cameras • Time: one week • Procedure: • two sets of prints • Participants to withdraw prints prior to conversation • Discuss photograph with the participants (not to misinterpret them) • Annotate photographson the back • Analysis: coding by subject Brief: Children asked to take photographs of similarities and differences (expected or experienced) between the two countries.

  5. Why photography? • Empowers children by giving them a more active role in the research process and can help to redress the imbalance of power • Allows children to choose their responses away from immediate adult pressure • Can be a support in case of language difficulties • It is more ‘fun’ • Can become an aid for individual interviews, by shifting the focus of attention • Allows for triangulation

  6. Other people’s eyes The researcher’s ‘absent presence’ ‘Staged’ pictures The voices of other people (but also the hands…)

  7. Holding a camera Same places? Personal spaces? Safe places?

  8. The children’s views GF: listen… was it a problem taking the photographs? Did you mind it? B: no. It was a pleasure. If you want I’ll do some more [laughs] [Benedetta, female age 12 – Italy, born in Ghana] GF: and was it a problem taking the photographs? R: no, it was not a problem [Roberto, male age 15 – Italy, born in Ghana] GF: was taking the photographs a chore? M: yes, a bit… because you had to have a picture… and you needed to think about it a lot, too. [Marty, male age 12 – born in Italy] G: was it a burden? A: yes, to tell you the truth it was a burden… […] because I didn’t know what… which things to… which things to photograph G: and so… and so it was a worry for you? A: yes [Amauri, male age 11 – Italy, born in Ghana]

  9. Summary • Limitations • Attracting attention • Mobility • Understanding of research process (ethical issues) • Is it ‘fun’? • Open issues of analysis and interpretation • Positive aspects • Children’s agency and researcher’s control • Photography and interviews • Triangulation • Diverse techniques for diverse participants • Possible improvements? • Maximise the interactive, collective nature • Digital cameras and manipulation

  10. Thank you g.fassetta@strath.ac.uk

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