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This work offers an introduction to the use of photography, collaborative video, drawing, objects, multi-media production and installation in research. The author explains how visual methods can be used as modes of inquiry as well as modes of representation for social research. The book looks at a range of conceptual and practical approaches to a range of tools and methods, while also highlighting the interpretive and ethical issues that arise when engaging in visual research. She draws on her own work in the field of visual research throughout to offer extensive examples from a variety of settings and with a variety of populations. Topics covered include: Photographs and memory work studies; Drawing as a participatory visual methodology; Working with images, Writing about images; Can visual methods make a difference? : from practice to policy. This book takes an interdisciplinary approach to the subject of visual research, producing a practical introduction to the subject

"The ability to analyse and interpret visual information is essential in fashion. However, students tend to struggle with the concept of visual research as well as with application of that research. Visual Research Methods in Fashion provides students with techniques, tools and inspiration to master their visual research skills and make the research that they undertake more effective. Illustrated with real life examples from practitioners in the industry, academics and students, it focuses on the global nature of the industry and the need to develop ideas relevant to the market"--

Contents -- Editors and Contributors -- List of Figures -- Introduction -- Chapter 1 Technologies, Possibilities, Emergence and an Ethics of Responsibility: Refiguring Techniques -- Abstract -- 1.1 Introduction -- 1.2 What Does the 'Technological Possible' Mean for Digital Visual Research? -- 1.3 What are the Implications of Seeing Researcher Engagement with New and Emerging Technologies as Improvisation Rather Than Innovation? -- 1.4 What Does This Mean for an Ethics of Responsibility in Digital Visual Research? -- 1.5 How Can We Harness Techniques that Involve Digital Visual Technologies for Making or Ensuring Better Futures? -- 1.6 How Can Digital Visual Technologies and Techniques Benefit Collaborations with External Research Partners and Stakeholders to Gain Understandings that Will Enable Us and Them to Better Judge How We Move on into Our Digital Futures? -- 1.7 Summing up -- References -- Chapter 2 Non-human Sensing: New Methodologies for the Drone Assemblage -- Abstract -- 2.1 Introduction -- 2.2 The Drone Body -- 2.3 Drone Piloting and the Wayward Object -- 2.4 Conclusions -- References -- Chapter 3 Immersive Reflexivity: Using 360° Cameras in Ethnographic Fieldwork -- Abstract -- 3.1 Introduction -- 3.2 Visual Practices and Digital Affordances -- 3.3 Locating 360° Cameras Within Photographic History -- 3.4 Sensing the Emplacement of Doing Fieldwork with 360° Images -- 3.5 360° Images: Sharing Fieldwork Experiences -- 3.6 360° Images as Visual Fieldnotes -- 3.7 Concluding Remarks -- References -- Chapter 4 Empathetic Visuality: GoPros and the Video Trace -- Abstract -- 4.1 Introduction -- 4.2 Cameras on Our Bodies: Situating the GoPro -- 4.3 The Video Trace -- 4.4 Cycling with GoPros -- 4.5 Empathy and the Video Trace -- 4.6 The Video Trace and Auto-Ethnography at a Public Event -- 4.7 Conclusion -- References

Der Autor stellt die These auf, dass sich die visuellen Methoden am Scheideweg befinden: Sie können weiterhin in einer Nische existieren oder zielstrebig in die Forschung einziehen und alle beflügeln, die sich mit visuellen Materialien beschäftigen. In den Sozialwissenschaften werden Fotografie, Video und grafische Darstellungen als visuelle Methoden gebraucht. Hinsichtlich der Besonderheit des Visuellen sollte beachtet werden, dass alle auf Fotografien bezogenen Interpretationen besonderen Aufwand erfordern. "Etwas ansehen" bedeutet "gerahmt sein durch", und das bezieht diejenigen mit ein, die die Bilder machen und die von den Betrachter/innen mit gesehen werden. Für die Sozialwissenschaften bieten Bilder sowohl persönliche Einsichten wie auch mit persönlichen Erfahrungen versehene Belege sozialer und räumlicher Beziehungen. Deswegen können Fragen gestellt werden wie: "Welche Muster kehren im Laufe der Zeit wieder?", "Wie sind soziale Vorgänge organisiert?" oder "Welche Rolle spielen Gefühle im gesellschaftlichen Leben?" Das sind die Fragen, zu deren Auflösung die Analyse visueller Daten beitragen kann. Es sollte hinzugefügt werden, dass sich die methodologische Diskussion nicht nur auf die Datenerzeugung und die Datenanalyse richten sollte, sondern auch darauf, wie Forschungsergebnisse mitgeteilt werden können. Einige dieser Fragen können bspw. durch kontrollierte Foto-Beobachtungen oder durch Foto-Elizitierung angegangen werden.
Abschließend wird gefragt, welche Aufgaben noch zu lösen sind und auf drei Bereiche hingewiesen: (1) die Bewertung der theoretischen und begrifflichen Grundlagen der visuellen Forschung; (2) die Schaffung öffentlich zugänglicher Daten für die Entwicklung und Überprüfung von Theorien; (3) die Kennzeichnungen von "Best Practices" für die visuelle Forschung.

En el presente escrito se abordan las diversas posturas y los distintos proyectos que durante los veinte años de existencia se han planteado dentro del Departamento de Diseño Visual de la Facultad de Artes y Humanidades de la Universidad de Caldas. Durante las dos décadas que han transcurrido desde la creación del programa de Diseño Visual, se han formulado preguntas sobre la relación que el diseño establece con algunos de los saberes que le sirven de base, sin embargo la simple formulación de preguntas no tiene sentido, más si se tiene en cuenta que el diseño se ha configurado, en estas dos décadas, como uno de los pilares de la comunicación y de la integración del individuo con su entorno y con la sociedad como no se había logrado antes. Esta forma de perfilarse ha incluido, dentro de su cuerpo teórico, una serie de transformaciones sobre su objeto de estudio, las disciplinas aportantes y las proyecciones que se vislumbran serán motivo de estudios mucho más amplios y precisos. Como una manera de sistematizar los avances y esquematizar el tipo de reflexiones que se han realizado dentro de esta Unidad académica, se presenta este artículo, para condensar los temas, las preguntas y los aportes que desde la Universidad de Caldas se han hecho sobre la actividad proyectual y la comunicación en general, de tal manera que sea un referente para la comunidad académica del diseño en Colombia. ; Abstract In this writing the diverse positions and the different projects that during 20 years of existence have been posed in the Visual Design Department from the Arts and Humanities Faculty at Universidad de Caldas are addressed. During the two decades that have gone by since the creation of the Visual Design Program, several questions about the relationship design establishes with some of the knowledge it is based on have been posed. However, the simple formulation of questions does not have any meaning, even more if it is considered that design has configured during these two decades, as one of the pillars in communication and in the integration of the individuals and their environment and with society as it had never been achieved before. This way of being outlined, in its theoretical body, has included a series of transformations on its object of study, the provider subjects and the projections that are glimpsed will be the reason for wider and more precise studies. As a way to systematize the advances and to schematize the type of reflections that have been carried out in this Academic Unit, this article is submitted to condense the topics, questions, and contributions that have been done from Universidad de Caldas about project activity and communication in general so that they can be a referent for the Colombian design academic community.

En este volumen editado se presentan y discuten los métodos de investigación al emplear la cámara como un medio de documentación en el contexto de investigación etnográfica. El volumen aborda, en un menor grado con las estrategias de investigación que tratan con imágenes producidas por los actores sociales, tales como fotografía propagandística y video diarios. Se brinda especial atención a la forma en que la cámara facilita el proceso de comunicación in la investigación etnográfica. Esta colección puede ser muy útil para lectores interesados en la discusión de problemas metodológicos y consejo práctico en el uso de las cámaras, especialmente en el contexto de la investigación etnográfica. Se mencionan pero no se tratan en profundidad los temas teóricos de lo visual y el performance visual en las sociedades contemporáneas.

. This book captures the state of the art in visual research. Margolis and Pauwels have brought together, in one volume, a unique survey of the field of visual research that will be essential reading for scholars and students across the social sciences, arts and humanities. The SAGE Handbook of Visual Research Methods encompasses the breadth and depth of the field, and points the way to future research possibilities. It illustrates 'cutting edge' as well as long-standing and recognized practices. This book is not only 'about' research, it is also an example of the way that the visual can be in

Working Images: Visual Research and Representation in Ethnography. Sarah Pink, László Kürti, and Ana Isabel Afonso. New York: Routledge, 2004. 224 pp.

Visual Research Methods: Image, Society, and Representation translates abstract concepts into visually-compelling elements of everyday life. Differing from photographs as illustration, this edited volume synthesizes images with analytic questions about the world "out there." Editor Gregory C. Stanczak crisscrosses disciplines in ways that highlight the multiple manifestations of a new interdisciplinary trend.