# data[].attributes.headline
Literacy and Justice through Photography

# data[].attributes.subject
Literacy and Justice through Photography

# data[].attributes.attachment_link.title
Literacy and Justice Through Photography 9780807752814 | Teachers College Press

# data[].attributes.attachment_link.readable_text
Compiled by Magnum photographer Susan Meiselas, Eyes Open is a sourcebook of photography ideas for kids―to engage with the world through the camera. Eyes Open features photographs by young people from around the globe, as well as work by professional artists that demonstrates how a simple idea can be expanded. Playful and meaningful, this book is for young would-be photographers and those interested in expressing themselves creatively.

Twenty-three enticing projects help inspire a process of discovery and new ways of telling stories and animating ideas.

# data[].attributes.attachment_link.title
Eyes Open: 23 Photography Projects for Curious Kids

# data[].attributes.attachment_link.description
Eyes Open: 23 Photography Projects for Curious Kids: Meiselas, Susan: 9781597114691: Books - Amazon.ca

# data[].attributes.attachment_link.title
Best Photography and Photo-Editing Apps for Students | Common Sense Education

# data[].attributes.attachment_link.description
Best Photography and Photo-Editing Apps for Students is a list of 19 apps, games, and websites curated by Common Sense Education editors.

# data[].attributes.attachment_link.readable_text
Picture Sets topics have been selected to reflect key concepts and big ideas common to social studies and science curricula at various grade levels.

If you have any questions about accessing the collection, contact Kara.

Picture Sets topics currently available are:

# data[].attributes.attachment_link.description
Picture Sets topics have been selected to reflect key concepts and big ideas common to social studies and science curricula at various grade levels. If you have any questions about accessing the collection, contact Kara. Picture Sets topics currently available are:

# data[].attributes.headline
I wanna take my a picture by Wendy Ewald

# data[].attributes.subject
I wanna take my a picture by Wendy Ewald

# data[].attributes.attachment_link.description
I Wanna Take Me a Picture book. Read 10 reviews from the world's largest community for readers. Written for parents and teachers, I Wanna Take Me a Pictu...

# data[].attributes.headline
Blanket Toss under Midnight Sun by Peter Seesequasis

# data[].attributes.subject
Blanket Toss under Midnight Sun by Peter Seesequasis

# data[].attributes.attachment_link.title
Blanket Toss Under Midnight Sun by Paul Seesequasis | Penguin Random House Canada

# data[].attributes.attachment_link.description
A revelatory portrait of eight Indigenous communities from across North America, shown through never-before-published archival photographs--a gorgeous extension of Paul Seesequasis's popular social media project.

# data[].attributes.headline
PhOLKS Lore: Learning from Photographs, Families, and Children (Allen et al., 2002)

# data[].attributes.subject
PhOLKS Lore: Learning from Photographs, Families, and Children (Allen et al., 2002)

# data[].attributes.attachment_link.readable_text
Allen, JoBeth; Fabregas, Vinette; Hankins, Karen Hale; Hull, Gregory; Labbo, Linda; Lawson, Hattie Spruill; Michalove, Barabara; Piazza, Steve; Piha, Cyndy; Sprague, Linda; Townsend, Sybil; Urdanivia-English, Carmen

# data[].attributes.attachment_link.title
ERIC - EJ642846 - PhOLKS Lore: Learning from Photographs, Families, and Children., Language Arts, 2002

# data[].attributes.attachment_link.description
Considers how children can develop personal, social, and cultural connections through photography and narratives in order to envision other possibilities for their lives. Concludes that they found a

# data[].attributes.attachment_link.description
Photographer Wendy Ewald encourages her collaborators to use cameras to record themselves, their families and communities, and to articulate their dreams.

# data[].attributes.body
What's Going on in this Picture

# data[].attributes.attachment_link.description
Intriguing Times images stripped of their captions — and an invitation to students to discuss them live.

# data[].attributes.attachment_link.readable_text
Humankind lingers unregenerately in Plato's cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads -- as an anthology of images.

To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard's gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.

To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge -- and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire.

Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them.

For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality -- photographs are fragile objects, easily torn or mislaid -- and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker's film, Si j'avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books.

Photographs furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what's in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph -- any photograph -- seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something "out there," just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life.

While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -- the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography's "message," its aggression.

Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography's glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images.

That age when taking photographs required a cumbersome and expensive contraption -- the toy of the clever, the wealthy, and the obsessed -- seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

# data[].attributes.attachment_link.description
Humankind lingers unregenerately in Plato’s cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more image…

# data[].attributes.attachment_link.readable_text
Targeting cookies are used to make advertising messages more relevant to you and your interests. They perform functions like preventing the same content from reappearing, ensuring ads are displayed and, in some cases, selecting content based on your interests. See More.

# data[].attributes.attachment_link.description
Based on the BBC television series, John Berger's Ways of Seeing is a unique look at the way we view art, published as part of the Penguin on Design series in Penguin Modern Classics. 'Seeing comes before words. The child looks and recognizes before it can speak.'

# data[].attributes.attachment_link.readable_text
Photography Changes Everything offers a provocative rethinking of photography's impact on our culture and our daily lives. Compiling hundreds of images and responses from leading authorities on photography, it offers a brilliant, reader-friendly exploration of the many ways in which photographs package information and values, demand and hold attention, and shape our knowledge of and experience in the world. The volume draws on the extraordinary visual assets of the Smithsonian Institution's museums, science centers and archives to launch an unprecedented interdisciplinary dialogue on photography's capacity to shape and change our experience of the world. Photography Changes Everything features over 300 images and nearly 100 engaging short texts commissioned from experts, writers, inventors, public figures and others-from Hugh Hefner to John Baldessari, John Waters, Robert Adams, Sandra Phillips and many others. Each story responds to images selected by project contributors. Together they engage readers in a timely exploration of the extent to which our lives have been transformed through our interactions with photographic imagery. Edited by leading photography curator and author Marvin Heiferman, Photography Changes Everything provides a unique opportunity to better understand the history, practice and power of photography at this transitional moment in visual culture.

# data[].attributes.attachment_link.description
Photography Changes Everything : Foresta, Merry A., Heiferman, Marvin: Amazon.ca: Books

# data[].attributes.attachment_link.title
The Social Photo by Nathan Jurgenson | Penguin Random House Canada

# data[].attributes.attachment_link.description
A set of bold theoretical reflections on how the social photo has remade our world.

# data[].attributes.attachment_link.description
Image - Music - Text book. Read 60 reviews from the world's largest community for readers. Image-Music-Text brings together major essays by Roland Barthe...

# data[].attributes.attachment_link.readable_text
Photography

The new centrality of image making to everyday life

Vilém Flusser's theory of photography anticipated our current society in many ways, capturing how we become data processors for an overarching social system. But the blind spots in his theory can help us see the risks inherent in his style of seductive techno-prophecy

# data[].attributes.attachment_link.description
The new centrality of image making to everyday life

# data[].attributes.attachment_link.readable_text
Working from an archive of old negatives Arrayah Loynd invites the viewer on a lush, vibrating adventure into her mind's eye as she constructs an alternative to "photographic memory."

Photographs by Arrayah Loynd
Essay by Magali Duzant

# data[].attributes.attachment_link.description
Discover and share the best in contemporary photography

# data[].attributes.body
by Tina Campt

# data[].attributes.attachment_link.readable_text
" Listening to Images provides a powerful set of theoretical and methodological tools for historicizing and unpacking the kinds of photographic archives of which [Sandra] Bland's images are a recent, prominent, and disturbing example. . . . Tina Campt's stimulating new work is a must read in a flurry of exciting work at the intersection of Black Studies and visual culture." - J. T. Roane, Black Perspectives

"[Campt's] work is particularly noteworthy for her ability to translate still images into moving narratives, to carry the reader through the image. Campt's archive for Listening to Images is made of photos that one might pass over when looking for a more spectacular story. These include modes of identification photography-mugshots, passport photos-that reveal the apparatus of state control without its spectacular action or violence. These images are the low-tech precursor to the current proliferation of biometrics, the practice of tracking unique identity markers like DNA. Campt's turn away from crisis brings the spectacle into perspective. She attends to the long backdrop of the eruptions of supposedly exceptional violence that is far too often overlooked, but is always present."
- JB Brager, The New Inquiry

"Fugitivity, according to Campt, is a form of refusal defined by a commitment to survival, in which one enacts, through a performance of a future that has not yet arrived, the conditions which will have sustained and valued black life. Listening to Images not only provides the grammar to articulate this fugitivity, it also attunes our senses to listen for it." - Jacob Breslow, Feminist Review

"Scholars of Africana Studies, Cultural Studies, Visual Culture, Art History, and Gender Studies will no doubt find Campt's archival research, innovative methodology, and evocative theorizations of a grammar of black feminist futurity to be generative and rich. . . . Campt's work importantly recalibrates readers' capacities to glean from images the complex grammars of black fugitivity, refusal, and futurity that resonate from and within identification photographs." - Doria E. Charlson, Women & Performance

"Campt has written a succinct book of intensive propositions. . . . Listening to Images is an intricate text expounding on the theoretical interplay among archiving, seeing, and listening to visual materials that are in plain sight but not in sight. Thus, the sounds that they generate are quiet and have gripping agentive frequencies." - Jerry Philogene, CAA Reviews

" Listening to Images skates along the surface of images, listening to their resonances. . . . This method allows Campt to create unexpected juxtapositions. . . . It is a testament to the book's many points of connection between archives and time periods that I was left wanting more." - Jocelyn Fenton Stitt, Meridians

" Listening to Images offers compelling, and surprisingly mobile, theorizations of seriality. . . . Campt explores institutional and bureaucratic photographs, the images of her title. She reads these against the grain, as generative artifacts whose serial conditions reframe their ostensibly oppressive meaning and reshape the 'affective frequencies' through which others encounter them. . . . Campt's work has the potential to enrich conversations in periodical studies, mass media studies, and, yes, 'seriality studies' in all its messy possibility."
- Sarah H. Salter, American Periodicals
" Listening to Images captures the sight, sound, and frequency of the tenses of black life and the possibilities that emerge in and from the everyday black practices of refusal. Tina M. Campt's rich and generative work rethinks black diaspora in the photographic, sonic, and haptic registers while having profound implications for the ways we see, read, and hear images as well as the ways we touch and are touched by them." - Christina Sharpe, author of In the Wake: On Blackness and Being

"Tina M. Campt's Listening to Images is an innovative, ambitious, and evocative work that offers a fresh approach to photography and opens up state photographic archives to new forms of analysis. By identifying state archives as sites of quiet refusal that hold complex records of the everyday lives of people of the African diaspora, Listening to Images has the potential to become a methodological touchstone in photography studies for years to come." - Shawn Michelle Smith, author of Photography on the Color Line: W. E. B. Du Bois, Race, and Visual Culture

# data[].attributes.attachment_link.title
Duke University Press - Listening to Images

# data[].attributes.attachment_link.description
“Listening to Images provides a powerful set of theoretical and methodological tools for historicizing and unpacking the kinds of photographic archives of which [Sandra] Bland’s images are a recent, prominent, and disturbing example. . . . Tina Campt’s stimulating new work is a must read in a flurry…

# data[].attributes.body
Ewald: Israel/Palestine

# data[].attributes.attachment_link.readable_text
Israel/Palestine, 2010-2013

Over the course of three years, I made ten trips to Israel and the West Bank, and stayed for three to four weeks each time. As the project grew, I worked with more and more communities-14 in all, and recorded people talking about their lives. I combined the pictures and testimonies from each of my collaborations into a kind of narrative atlas, where maps, photographs, and words convey an insider's point of view; this atlas would tell different stories of people's lives from various regions and 14 cultural groups in Israel and Palestine.

# data[].attributes.attachment_link.description
Over the course of three years, I made ten trips to Israel and the West Bank, and stayed for three to four weeks each time. As the project grew, I worked with more and more communities-14 in all, and recorded people talking about their lives.

# data[].attributes.attachment_link.title
Teaching Students How to Analyze Images and Detect Fakery

# data[].attributes.attachment_link.description
Can we teach students how to “read” images and detect messaging and fakery? Media literacy expert Frank Baker shares ideas and insights to get teachers started.

# data[].attributes.headline
Using Photography in a Culturally Responsive Curriculum: Invitations to Read, Write, and Think (Laman & Henderson, 2018)

# data[].attributes.subject
Using Photography in a Culturally Responsive Curriculum: Invitations to Read, Write, and Think (Laman & Henderson, 2018)

# data[].attributes.attachment_link.title
Collections - Children's Photography Archive

# data[].attributes.attachment_link.description
A collection of 880 photographs from the ERC Connectors Study (2014-2019) taken by children aged 5-9 in Athens, Hyderabad, and London. The Connectors Study explored the relationship between childhood and public life, focusing on children's encounters, experiences and engagement with politics broadly defined. Children participating in the study were given digital cameras by researchers to ...

# data[].attributes.headline
Picture Sets - critical thinking consortium

# data[].attributes.subject
Picture Sets - critical thinking consortium

# data[].attributes.attachment_link.readable_text
Picture Sets topics have been selected to reflect key concepts and big ideas common to social studies and science curricula at various grade levels.

If you have any questions about accessing the collection, contact Kara.

Picture Sets topics currently available are:

# data[].attributes.attachment_link.description
Picture Sets topics have been selected to reflect key concepts and big ideas common to social studies and science curricula at various grade levels. If you have any questions about accessing the collection, contact Kara. Picture Sets topics currently available are:

# data[].attributes.headline
 How to involve young children in a photovoice project

# data[].attributes.subject
 How to involve young children in a photovoice project

# data[].attributes.attachment_link.readable_text
DOI:
https://doi.org/10.17169/fqs-22.1.3457

Keywords:
research with children, participative research, group discussion, photovoice method, puppet interview

Abstract

For a considerable period of time, discussions on children and how they describe their own life-worlds did not form a part of research practice (CHRISTENSEN & JAMES, 2008). Although some methods are currently being applied with success in research with children, a more comprehensive implementation of different participatory methods is necessary which takes into account the child's peculiarities. One aim of the project "Learning Together, Living Diversity" was to involve children of kindergarten age in participatory research. To demonstrate diversity in a context close to everyday life and to start conversations with the children about this topic we used photographs taken by the children in their living environment. We aim to use the collected findings to develop a didactic method for early childhood education dealing with diversity in the sense of a basic form of existence: every person is unique, and this uniqueness should be perceived as enrichment. In this method, the early childhood phase and the institutional experiences embedded within it are considered fundamental to understand and accept the existence of various life-worlds.

Author Biographies

Corinne Butschi, Universität Zürich

Corinne BUTSCHI received her M.A. in educational psychology and special education at the University of Zurich in 2015. She is a research assistant at the Institute for Educational Science at the University of Zurich at the Chair of Special Education with the main focus on society, participation and disability. Her research interests include early childhood and participatory research.

Ingeborg Hedderich, Universität Zürich

Ingeborg HEDDERICH studied educational science and special needs education. Since 2011 she holds the chair of special needs education with the main focus on society, participation and disability at the University of Zurich. Her research is focused on early childhood, inclusion, migration, and participatory research, which she realizes in international cooperation with South American countries. Current publication (in German): "Perspektiven auf Vielfalt in der frühen Kindheit. Mit Kindern Diversität erforschen" [Perspectives on Diversity in Early Childhood. Exploring Diversity with Children] (ed. with Jeanne REPPIN & Corinne BUTSCHI, 2019, Bad Heilbrunn: Klinkhardt).

# data[].attributes.attachment_link.title
How to Involve Young Children in a Photovoice Project. Experiences and Results

# data[].attributes.attachment_link.description
https://doi.org/10.17169/fqs-22.1.3457 research with children, participative research, group discussion, photovoice method, puppet interview For a considerable period of time, discussions on children and how they describe their own life-worlds did not form a part of research practice (CHRISTENSEN & JAMES, 2008).

# data[].attributes.attachment_link.readable_text
This is a collection of poems written by different children about their favorite part of themselves. This story is perfect for upper elementary because it could lead into a project about them writing their own poetry about themselves using rhyming or bothered specific literary devices.

# data[].attributes.attachment_link.description
This is a collection of poems written by different children about their favorite part of themselves. This story is perfect for upper elementary because it could lead into a project about them writing their own poetry about themselves using rhyming or bothered specific literary devices.

# data[].attributes.headline
Empowering children through photography and drawing

# data[].attributes.subject
Empowering children through photography and drawing

# data[].attributes.headline
Heartbeat of Hamilton: Researcher’s Reflections on Hamilton Children’s Engagement With Visual Research Methodologies to Study the Environment (Moola et al., 2015)

# data[].attributes.subject
Heartbeat of Hamilton: Researcher’s Reflections on Hamilton Children’s Engagement With Visual Research Methodologies to Study the Environment (Moola et al., 2015)

# data[].attributes.headline
Ethics in context: essential flexibility in an international photo-elicitation project with children and young people (Burningham et al., 2019)

# data[].attributes.subject
Ethics in context: essential flexibility in an international photo-elicitation project with children and young people (Burningham et al., 2019)