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Teaching Gender in Social Work - MailChimp

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The Five Techniques of Photo Therapy by Judy Weiser<br />

Each of the five techniques is directly related to the various relationships<br />

possible between person and camera (or person and photograph) although <strong>in</strong><br />

practice, these categories often naturally overlap:<br />

1) Photos which have been taken or created by the client (whether<br />

actually us<strong>in</strong>g a camera to make the picture, or “tak<strong>in</strong>g”<br />

(appropriat<strong>in</strong>g) other people’s images through gather<strong>in</strong>g “found”<br />

photos from magaz<strong>in</strong>es, postcards, Internet images, digital<br />

manipulation, and so forth),<br />

2) Photos which have been taken of the client by other people<br />

(whether posed on purpose or taken spontaneously while the<br />

person was unaware of be<strong>in</strong>g photographed -- but where people<br />

other than the client have made all the decisions about tim<strong>in</strong>g,<br />

content, location, and so forth),<br />

3) Self-portraits, which means any k<strong>in</strong>d of photos that clients have<br />

made of themselves, either literally or metaphorically (but where<br />

<strong>in</strong> all cases they themselves had total control and power over all<br />

aspects of the image’s creation),<br />

4) Family album and other photo-biographical collections (whether<br />

of birth family or family of choice; whether formally kept <strong>in</strong><br />

albums or more “loosely” comb<strong>in</strong>ed <strong>in</strong>to narratives by placement<br />

on walls or refrigerator doors, <strong>in</strong>side wallets or desktop frames, <strong>in</strong>to<br />

computer screens or family websites, and so forth -- which were<br />

put together for the purpose of document<strong>in</strong>g the personal<br />

narrative of the client’s life and the background from which<br />

they developed. Such albums have a “life” apart from, and far<br />

beyond, the <strong>in</strong>dividual images which comprise them; and, f<strong>in</strong>ally...<br />

5) “Photo-projectives” technique, which is based on the fact that the<br />

mean<strong>in</strong>g of any photo is primarily created by its viewer dur<strong>in</strong>g<br />

their process of view<strong>in</strong>g it (or tak<strong>in</strong>g or even just plann<strong>in</strong>g it).<br />

What is the story beh<strong>in</strong>d each of these pictures below? Why was<br />

it taken? What thoughts, feel<strong>in</strong>gs, or memories come to m<strong>in</strong>d <strong>in</strong><br />

response to see<strong>in</strong>g it? What might its voice say or ask if it could<br />

speak? What message, secret, or <strong>in</strong>formation might it hold? What<br />

does it rem<strong>in</strong>d you of <strong>in</strong> your own life?<br />

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