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Undergraduates commonly suffer from stress and anxiety; therefore, it is imperative to find restorative places on campus. Although blue and green spaces are good for recovery and stress relief, previous studies have failed to determine other types of restorative spaces on campuses. Using a bottom-up participatory smartphone photo survey, this study recruited a sample of 243 students from Sichuan Technology and Business University in China, and the results were as follows: (1) potential restorative spaces on campus were grouped into five categories: green, blue, gray, living, and study space; (2) no significant differences were found in the assessment of the five restorative spaces, all of which showed positive effects; (3) the five restorative spaces were linked with four restorative characteristics in different ways, with green, blue, gray, and living space showing the “being away” characteristic (refuges from the hassles of everyday life, indicate geographical or psychological distance), and gray and study spaces showing the “fascination” characteristic (effortless attention); (4) visit duration played an important role in the environment’s potential to promote recovery. A shorter visit duration owing to a lack of infrastructure and interest points may contribute to reduced benefits. This study has important implications for the design and management of restorative environments on college campuses.

There is growing interest in “more‐than‐human” influences on places and practices. However, while the theoretical thinking in this field is well developed, methodology and methods lag behind. Borrowing insights from feminist geographers’ articulation of “response”, we explore how participatory photography can be used to examine more‐than‐human processes through a case study of marginal homemaking in Khulna city in Bangladesh. Our photo‐response method focuses on performances of seeing, telling and being together to enhance the co‐production of “knowledges”. We conclude that analysing three stages of “response” within participatory photography provides new insights for conducting research in, with and as more‐than‐human worlds.

Community-based participatory researchers increasingly incorporate photography and social media into their work. Despite its relative infancy, social media has created a powerful network that allows individuals to convey messages quickly to a widespread audience. In addition to its potential benefits, the use of social media in research also carries risk, given the fast pace of exchanges, sharing of personal images and ideas in high accessibility, low privacy contexts and continually shifting options and upgrades. This article contributes to the literature examining ethical considerations for photography and social media use in community-based participatory research. We describe three key ethical dilemmas that we encountered during our participatory photography project with Latina/o youth: (a) use and content of images and risk; (b) incentives and coercion; and (c) social media activity and confidentiality. We provide our responses to these challenges, contextualized in theory and practice, and share lessons learned. We raise the question of how to contend with cultural shifts in boundaries and privacy. We propose that evaluating participant vulnerability versus potential empowerment may be more fitting than the standard approach of assessing risks and benefits. Finally, we recommend upholding the principles of participatory research by co-producing ethical practices with one's participants.

Modern technology has significantly enhanced the accessibility of photography, broadening its use across various scientific disciplines. Digital cameras and smartphones have empowered researchers, especially in the field, to collect data more efficiently and intimately than many traditional methods allow. Photography’s longstanding relationship with social research has made it a crucial tool for co-creating knowledge and capturing data that non-visual approaches might overlook. Beyond mere illustration, photography contributes to a deeper understanding of complex contexts. However, despite its widespread application in the social sciences, there remains a notable gap in its use within energy transitions research in science and technology studies (STS). Drawing on personal experience in studying energy development in Scotland’s Orkney Islands, this article demonstrates how photography can enrich the research process. Although not without challenges, the article highlights approaches like visual surveying, auto-photography, and photo-elicitation. This illustrates the potential of photography, emphasizing its value as a research method to enhance understanding of the visual consequences of energy transitions in rural landscapes.

This article is based on a comparative study of 9- to 11-year-old children’s place use and preferences in six low-income historic Istanbul neighbourhoods with varying degrees of redevelopment. Data on places used and preferred by children were obtained using the participatory photography technique. The article contributes to the existing literature by showing that children in more redeveloped neighbourhoods are more likely than those in less redeveloped ones to be confined to highly controlled and regulated places and less likely to interact with nature, pay attention to the social attributes of their communities and appreciate heritage. 本文基于一项比较研宄，比较了伊斯坦布尔六个经历不同程度改造的低收入历史街区9-11 岁儿童的场所使用和偏好。儿童所用和偏好的场所数据通过参与式摄影手段获取。本文表明， 比之改造程度低的街区，在改造程度高的街区生活的儿童被限制在高度受控并管制的场所可能 性要大，而与自然互动、关注其社区的社会属性及欣赏历史遗产的可能性要低。

This paper examines the study space preferences of college students in their respective university colleges. The study utilized principles of visual ethnography to collect participatory photographic data. Student participants completed three tasks, a demographic survey, participant-supplied photographs, and an exit interview. We recruited from the Colleges of Architecture and Education and Human Development 60 participants who captured their preferred study spaces in their colleges and adjacent areas through photographic evidence. Grounded theory and qualitative coding were applied to analyze and create preliminary code themes from the visual and textual data to further evaluate student study preferences. The authors discovered that there were differences, and sometimes similarities, of space availability between the colleges, patterns of semesterly inhabiting behavior and transient movement, and organic ability for collaboration.

This article uses participatory photography to explore the relationships animating efforts towards recovery from opioid use disorder (OUD) in the Dayton, Ohio area, an epicenter of illicit opioid use and overdose death. A photo-elicitation project was conducted with thirteen people who met the DSM-5 criteria for OUD. Photographs were used as prompts during qualitative interviews, which were thematically analyzed. Analysis of both visual and textual data demonstrated the ways in which recovery became an unfolding process of calculation as participants made strategic choices to navigate relations and encounters with things, people, and places. Relationships across each of these domains could, under some circumstances, serve as supports or motivators in the recovery process, but, in alternate settings, be experienced as “triggers” prompting a resumption of problematic drug use or, at the very least, a reckoning with the feelings and emotions associated with painful or problematic aspects of personal histories and drug use experiences. Findings highlight the importance of understanding recovery as a calibration of the ambiguous relations animating experiences of everyday life. We argue for continued emphasis on recovery as an active performance and ongoing practice of calculation—of risks and benefits, of supports and triggers, of gratification and heartbreak—rather than a goal or static state.

This paper presents the use of thematic collages as a methodological innovation to participatory photography as a research framework. Participatory photography was used to understand the subjective “off-script” motivations behind the full or partial adoption of Zero Budget Natural Farming (ZBNF) by members of women’s self-help groups in Andhra Pradesh, India. The addition of thematic collages to existing participatory photography methods was developed as a mechanism to better support the dialogic generation of new Freirean “generative themes” for investigation by a group. Further, the use of thematic collages invites the integration of “renegade” or non-thematic images into participant group analysis. ZBNF is an agricultural practice that has become an extension priority in Andhra Pradesh. It emphasizes the use of defined chemical-free inputs and regenerative farming techniques as a holistic approach toward socio-ecological resilience. As part of an interdisciplinary research project, this participatory photography design was piloted parallel to a soil science experiment in three geographically distinct agroecological zones in Andhra Pradesh. We show how participatory photography, with the novel addition of thematic collages, can be integrated into interdisciplinary research as a method to discover the underlying motivations to adopt agricultural practices and participate in agricultural movements like Zero Budget Natural Farming.

Background. Nurses’ perceptions of health are essential to decision making and communicating with clients. However, little is known about their own perceptions of this phenomenon. This study focuses on health-related beliefs among young nurses enrolled in a master’s-level nursing program using a modified photovoice methodology. Methods. The study population was 87 nurses undergoing a master’s degree in nursing at Jagiellonian University Medical College in Krakow, Poland, participating in an obligatory health psychology course. For the modified photovoice activity, the participants took three photos related to their perceptions of (1) health, (2) health protective factors, and (3) health risk factors. The data interpretation involved a thematic analysis of these photos and captions; a narrative analysis to distinguish between documentary and symbolic photos; and a descriptive analysis of the photo production. Results. Eighty-seven students completed the photography assignment. The mean age was 22.1 years (SD = 1.1). Most photos (91%) documented real-life health behaviours. Some photos (9%) used everyday objects such as sunflowers to create symbols related to health. A photo series showed a model of the human brain in different environments and activities. Conclusions. Student participation in the photovoice activity appeared to strengthen observation and interpretation skills, which are essential to client care. Students used this opportunity to reflect on their own lives and environments and show their perceptions of health, health protective factors, and health risks. The activity planted seeds for changes in students’ health perceptions and critical thinking. Future research could explore whether participation in a modified photovoice activity as experiential learning in a required health psychology course contributes to changes in master’s-level nursing students’ personal health behaviours and client care.

In an era of increasing access to digital technologies, Indigenous communities are progressively more able to present sophisticated and differentiated narratives in order to maximise their long-term survival. In this article, we explore how Indigenous communities use participatory video and participatory photography as tools of Indigenous media to enhance, adapt and/or reinforce their collective social memory. This social memory is key for identity formation and self-representation, and the ways in which Indigenous representations are performed promote particular interests and worldviews to the local, national and global scales. Working with the Makushi and Wapishana communities of the North Rupununi, Guyana, the current social memory ‘in use’ was surfaced through the participatory video and photography process led by the Indigenous community. Through an iterative process of analysing images (photos and video clips) and text (written material, narration and spoken word), we identified key narratives of the communities’ social memory. We show how communities provide different messages to different actors through the way they use participatory video and participatory photography, revealing how self-conscious multiple identities shape differing purposes. We suggest that our ability, as non-Indigenous stakeholders, to perceive, appreciate and act upon these more complex and nuanced narratives is critical to help address environmental governance in a rapidly changing social–ecological context.