Written by: Julie Dodge on September 23, 2013

“Images are ‘everywhere’. They permeate our academic work, everyday lives, conversations, our imagination and our dreams.”

So Sarah Pink opens her approach to Doing Visual Ethnography (2007). Pink walks the reader through a conceptualization of conducting ethnography through the use of visual tools such as photography, video, existing visual images, and using various approaches including creating images, conducting participant interviews, and collaborative approaches. Pink opens the door to ethnography, making it at once accessible, while at the same time drawing out a thoughtful, analytic approach.

I was most excited to read Pink’s book. I have taught basic ethnographic strategies in my social work courses, and was eager to learn more and expand my repertoire. It was thus ironic that while reading this book a chronic health issue flared up leaving me in dark, quiet rooms, for the better part of three out of five days. I was unable to take in new images, so I found myself reflecting on what I knew. Visually. For example, I could hear my friends out in the backyard on Sunday morning, sharing coffee and planning an up-coming party. I knew without seeing who was sitting where, how they were likely dressed, and that they were all, without a doubt, using their iPhones almost constantly. Does the image create the reality? No, it simply is a reflection of what we know. It captures what is known. In Pink’s approach, the image helps to create or identify knowledge about a group of people or culture. I might say that it helps us to tell the story.

I was only half way through the book when I found myself unable to read more. But I was still stimulated. I found myself reflecting on the closest thing that I have done to a visual ethnography. Two years ago I took a small group of social work students to Nicaragua. We spent four days with Ramon and Miriam Baca, of El Faro Church. Our goal was to create a video to help tell the story of El Faro. We had a few challenges:

• None of us had made a video before. But how hard could it be with all of this free software?

• We wanted to create a video that was not as reliant on words as we were trying to communicate in both English and Spanish.

• Our equipment was notably low end. We used digital cameras and smart phones for photo and video, and a smart phone for recording audio interviews.

Over four days, we interviewed leaders of the church, visited multiple church sites and projects, including schools and micro-finance initiatives. At the end we had so much information it was a bit overwhelming. But, we created a video, El Faro: A Story of Faith http://www.youtube.com/watch?v=3yFsTZl_460 . We translated it to Spanish, and posted both versions on YouTube. The real question was, did we tell our story, or did we tell the story that our friends at El Faro would say was true?

Ramon and Miriam visited the United States a few months after we were in Nicaragua. I hosted an event at my house, and we debuted the video. My answer about accuracy, whether we told a story that was meaningful to them, was answered through their tears. Ramon and Miriam saw people they knew, and the images evoked memories of each person’s history.

I find though, that the images do not evoke the same responses among people who view it and have not been to El Faro, or places similar. Pink speaks not only to the reality and challenge of ethnographer bias, but also that of participant/viewer bias. Each brings a different perspective and views the images through their own lens. She notes that visual information will be interpreted differently, and without accompanying written word, the visual may not communicate what was intended at all (Pink, 2007, p. 162).

Having completed the book, I can now say that Pink provides a sound overview of visual ethnography and the debates associated with it. At times I think she over-states the subjectivity of the ethnographer. I like to think that we can develop awareness of our own bias and strive to present a more balanced body of work. Perhaps I am naïve. However, I think that one of the most appropriate things we can do to raise awareness of the cultures and people for whom we are passionate is present visual images that are engaging, instructive, and create a connection between even the stranger and those people in the image. I think of it as the stained glass window of our day; a way to tell the story in a language the people can understand.

About the Author

Julie Dodge

Julie loves coffee and warm summer days. She is an Assistant Professor of Social Work at Concordia University, Portland, a consultant for non-profit organizations, and a leader at The Trinity Project.