Teaching Gender in Social Work - MailChimp
Teaching Gender in Social Work - MailChimp
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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