A short Dip in Photo Elicitation Interview Method

Introduction

Use of visual data makes the story richer. Visual media enriches the storytelling and gives the power to the hands of the storyteller rather than the interpreter, in this case it is the Re- searcher. The way Helen (2012) explains is that some researchers might want to deploy the Photo-Elicitation Method for rapport building. “Respondent created data” gives a greater au- tonomy to the storyteller to have the researcher to step into their world. Other researchers like, Gold (2004) reported that it did enabled and facilitated an easier conversation with peo- ple when the conversation started with photos.

Many Researchers have started to experiment with various kinds of Interview techniques and have found that interviews with photographs yield the best results. It has been stated by the researcher Meo (2010) that he experimented with interview techniques with photographs and without photographs. Often times, when he conducted interviews with photographs it has facilitated greater conversation and involvements from participants who are bit shyer and more reserved. As Helen (2012) rightfully mentions that interview techniques without and with photographs two main distinctions. Interviews with photographs provides enhanced data richness and facilitates stronger relationship between researchers and participants.

Helen (2012) reasons that interviews with photographs facilitates communication, alleviating the expression of emotions and tacit knowledge, and encouraging reflection. Much evidence has been found to express these assumptions. Many researchers also spoke about the importance of visual methods as enjoyable and easy to engage with.

Making sense of Visuals and Ethical Ramification

Helen (2012) mentions that Visual Methods often has been employed to enrich the data and also influence the complex relationship within the research context. It is quite unclear though if the similar outcomes can be achieved. Although, to all these discussion lies the core of eth- ics. According to Jeffrey (2007), when interviews are used in conjunction with interviews, it yields far richer data than word-only interviews. As Stanczak (2007) argues that employing images in research methodologies often reveals surprisingly new and refreshing knowledge, that researchers might not have realised through conventional means. He furthermore illus- trates that visual methodologies have made participants feel more comfortable and deepens rapport and conversation. It “unlocks” what otherwise might have been “closed off”.

Challenges of Photo-Elicitation Technique

Many researchers have raised the issue that often data has been misinterpreted. As discussed by Sandercock & Attili (2010) talks about an instance where in the documentary film the sub- ject’s voice and data had been distorted to match the opinion of the researchers. This arises due to the polysemic nature of images. Images can be interpreted in several ways and often it ties to the researcher’s experiences, opinions and biases. Therefore, we need to have a Re- search Method which balances the visual images along with the meaning being told by the subject themselves. But that does not mean we should have visual research methods in our Research but quiet the opposite. As Helen (2012) mentions that Visual methods often ex- presses solely and fully the expression of emotions and tacit knowledge and may actually lead

to revealing more than the researcher was expecting to study. Although, a researcher needs to be aware and fully examine the reasons for choosing a visual research method. As Helen (2012) suggests that choosing a visual research method places a duty on the researcher to have considered other methods; and if only the visual method have outweighed the other methods — to then consider it.

Therefore, the use of Visual Methods, when used responsibly, ethically and within the reflex of critical awareness — it grants an access to our participants “an increased voice and a greater authority to interpret their own personal experiences” (Alexa & Rosemary 2013). The same thought has been further developed by Stanczak (2007) mentioning that “images” opens an internal world and interpretations of the participants can bring surprisingly new knowledge that might not have been possible through conventional means. It is quiet similar to Collier’s metaphor of being a “can opener” for deeper reflection and discussion. Moreover, Researchers Bugos, Frasso, FitzGerald, True, Adachi-Mejia and Cannuscio (2014) reasons that implementing photo-elicitation technique should be anticipated with ethical and confidentiality issues. A protocol needs to be devised concerning the practical concerns and how it can be mitigated.

Photo-Elicitation Interviews

For this paper, I have chosen the method of Photo-Elicitation Interviews as a tool for Research Methodologies. I would group Photo-Elicitation technique as part of Photo-Voice methodolo- gies of Visual Research.

As described by Bugos, Frasso, FitzGerald, True, Adachi-Mejia and Cannuscio (2014) — Photo- Elicitation method is a qualitative research technique developed in the early 1957 to prompt, guide and drive a more in-depth and involved interviews. The researcher asks a member of the community (or subject) to study, photograph their environment. The researcher indulges on a in-depth, detailed investigation to further drive meaning and sense of the photographs. In 1997, the Photo Elicitation technique was first described as a community based participa- tory research. The researchers also discuss that there is a clear distinction between Photo- Elicitation and Photo-voice methods. Whereas Photo-Elicitation refers to more of the inter- view process itself and Photo-Voice is the term reflecting on the action-oriented research it- self.

In Photo-Elicitation method, we use photographs as a base for the interview. The subject is asked to photograph and capture certain instances of his life, which is the research objective in consideration. Then, the subject is taken through a phase of interviews where he is asked to talk about these photographs to decipher meaning, sense and uncover data. There are mainly two mechanisms of doing a Photo-Elicitation Interviews:

1. Photo taken by the Researcher: The researcher might introduce certain photographs in the discussion. These photos have been taken by the researcher prior to the inter- view. The objective is to find out how the subject interprets those photos and con- nects meaning in his life situations.
2. Photo taken by the Subject: This is the most common route taken by the researcher in a Photo-elicitation Interview. The subject is given a camera and asked to document his life and situations through capturing moments. Then through an interview phase, the researcher goes through the photographs to delve with the subject further and form meanings of his situations and opinions.

In my opinion, the second method works best when the researcher at first wants to explore the area of his subject more from a convergent ideology. At a later phase, when he concre- tises opinions about certain aspects of his research, he can introduce the first method of gar- nering opinions on specific topics. Deploying both the mechanism in a research study can de- rive more interesting results.

Bugos, Frasso, FitzGerald, True, Adachi-Mejia and Cannuscio (2014) also discusses the im- portance of location in an interview. The interview space should be a protective environment where the interviewees should feel safe and can open about sensitive topics. The researchers suggest that the interview can be held in a private space where convenience and safety should be taken care.

Conclusion

The beauty of Photo-Elicitation interview is based on the ideology of “shared anthropology”. As Victor (1985) puts it that Shared anthropology offers to record the “objective reality” and it offers a medium of communication between the researcher, native participant and their re- spective communities. We have earlier discussed how the camera and photographs can be an equipment of acquisition and division, but I believe that an ethical and strong researcher will always articulate the real story rather than story-tell the story his version.

Another interesting aspect of photography as discussed by Victor (1985) is how do you objec- tively chose the subject in your frame to tell a story. It requires creativity and thinking which already sensitises the subject to a “conceptual framework” of his reasoning and arguments. I truly believe that it sensitises to a process of prior reasoning of the story to be told.

References

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