Doing Visual Ethnography by Pink
“A picture is worth a thousand words” can be the sentence summary for the book “Doing Visual Ethnography” authored by Pink. I found myself contemplating the power of the picture. As the senses are alerted, emotions provoked, and curiosity peaked, the viewer is drawn into the visual as they wrestle through a variety of emotions and questions in their attempt to understand and experience the image. A picture can stop us abruptly from our present experience and get our mind racing as we seek the story in the image. Often, it does far more than words can do, and I found myself experiencing this as I viewed several of the photos in the book.
![[91/365] NYC Book](https://live.staticflickr.com/4141/4830057570_ccb8bd4368.jpg)
As social scientists, ethnographers tell the stories of the participants on the other side of the camera. The camera is the invitation to tell, participate, or interpret another person’s story. One could describe them as storytellers, as they chronicle the lives of the people, communities, and events they are studying. When the camera comes out, it’s as if the performance begins and the drama unfolds. Yet, it takes more than the camera, participants or a photographer. Walking through the setting where the story takes place puts the pictures in context and sets a cultural background for the visuals. There are a variety of ways to frame the shot and to set up the visual. It can be done in a casual manner or a more structured manner, but whatever the result, the story has an opportunity to grow and be revealed. Finally, the story comes to life in the interpretation of the images, which is influenced by the viewer’s values, gender, culture, background, and experiences.
In reading the materials, the social scientist came out in me as to the authenticity that could truly be achieved when the camera or video camera comes out. I could only visualize the many pictures taken when the invitational phrase “Say Cheese” was pronounced, instantly soliciting flattering poses and polished grins. It made me question, “Is the camera a “game-changer” to the authenticity of the story? Does it make the story less raw and real when the participants know they are being filmed? Does it matter?” I found myself enjoying the results of both methods: the realness of participants unaware of being filmed (not in a creepy voyeur way), and the participants playing up to the camera as often depicted in the book. How they reacted to the camera also told more about who they were and the roles they played in the story.
The power of the visual seems to know no limits, and it is remarkable to note the feelings an image stirs within you. As I read this book, I found myself haunted by well-known images from National Geographic, historical events, and art pieces that still pull on me in some unknown way where words fail me. And I am reminded of the power of the picture and the story it tells. On a side note, I think the author did better with her pictures in conveying her message than with her words.
About the Author
Jennifer Dean-Hill
10 responses to “Doing Visual Ethnography by Pink”
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Hi Jennifer,
I must say that you turn a dry book into a dramatic story. Pictures do tell the story if arranged in a strategy way. I too enjoyed the pictures.
Jennifer, do you see the potential in using pictures in your research?
Thanks Linda- helps me stay interested. 🙂
I would love to use pics with research as they do say so much, but not sure how. Are you considering using pictures for your research?
Jennifer I appreciate your artistic point of view for each of our weekly readings. The way you describe the art of capturing a photo is awesome. Based on your post, it leads me to ask you the following questions–How would the visual ethnographic methodology be used within your research? Why would you choose a digital or visual method? 🙂
“The camera is the invitation to tell, participate, or interpret another person’s story.”
Good line.
At my undergraduate college, I was the school photographer. This was back when I spent hours in a darkroom each week.
When we had special speakers, sporting events, etc. I was trained to stand up, walk around, and get the shot… ignoring everyone else in the room. As a missions pastor, I cannot do that. I have taken pictures in areas where people are very sensitive to big cameras (the homeless, remote villages, communist countries, etc.)
I have found that smart phones are the solution to this problem. With practice, you can take a picture in a sensitive situation on your phone, while looking like you are checking a text. I know there are ethical issues here, but that is the only way I have found to get the shot that I want without drawing attention to myself or my camera.
Great post Jennifer. I agree with your view of the author’s use of words and images. I think there could have been more imagery and fewer words (or less jargon). Your thoughts on the reality of pictures – posed and caught unawares – are really interesting. The rise of the “selfie” and framed Facebook pictures has also been a phenomenon that is often very unrealistic and a presentation of what we want others to see and think!
Jennifer,
Great observations. I just wonder though – everyone with an iPhone is a photographer now. Are we being flooded with too many choices?
When everyone is special, no one is special.
I am feeling overwhelmed! How do you deal with it?
Great post, Jennifer….. I wonder if it isn’t the presence of the camera that is the ‘game changer’ to authenticity, but rather the camera is the lasting reminder that even our experiences and the memories of those experiences are themselves subjective.
Does the camera make us less authentic than any other kind of audience?
I actually think that, more than anything, what the camera does is remind people that there is an audience.
“remind people that there is an audience.” Good observation.
I like what the author said about using the recording methods or styles of the people in the research context. As she prepared to study the bullfighters, Pink expected to use a lot of video recording. However, she discovered that videography was rarely used by the bullfighting fans and thus, as a participant-observer, she switched to recording as they did– with a camera. I also think about the Kenyans we lived with in northern Kenya– when we asked to take a picture, they would stand up straight & tall, very formal, with no smile. Our cultural preference would have been photos of our neighbors as we commonly saw them, laughing with each other and enjoying life. Which is more authentic? Maybe a need for both.
“The power of the visual seems to know no limits” Great point, Jennifer! For me photos are especially a powerful medium. Sometimes they seem even more powerful than video. Video seems to fill in the details of the story for you. A good photo makes you question either, what happened? or what’s about to happen? Video sometimes settles the question before you even had time to think about the question.