In this presentation I discuss the photo-elicitation interview (PEI), and hermeneutic photography, qualitative methodologies, by addressing their fundamentals, providing examples of how they are used and arguing about their benefits and potential challenges for anthropologists. In PEIs, scholars introduce photographs into the interview context while in hermeneutic photography ('phototalk') interviewees are asked to photograph their day to day activities. Anthropologists can use photographs as a tool to expand on questions and simultaneously, informants can use photographs to provide a unique way to probe into dimensions of their autobiographies and family narratives. However, I argue that family photographs or autobiographical visual narratives are extremely useful but they cannot be separated from their ideological and cultural context.

The singular compelling imagery of 'occupying' as a form of resistance is its multiplicity of voices - the collective mobilisation of the 'multitude'. Yet, the force and urgency of a collective resistance lies in the individual untold stories of its proponents. Rather than glorify the movement as a faceless entity, the paper/performance embraces the daily stories, struggles and wounds of occupation, by using photographs.

Resistant performances in Athens have gathered momentum over the last year, transforming the fixed landscape of a city into a platform for negotiation and dialogue. The research relies on entering the city through photographs in order to explore crisis, and new ways of being in the world. Documenting social change is highly subjective, and in this presentation the photographs perform, and resist singular interpretations.

In the performance/presentation, photographs of Athens interject, enact, and embody the troubled city. The images 'do something' - they form a third interlocutor in the dialogue about how change is visualised and realised in urban spaces. We are arguing that resistance is a space of radical openness, in which the self is re-imagined in relation to its landscape - and in turn, the landscape is remapped.

The concept of 'occupying' in resistance movements is performative, embodied and affective. It involves ideas and feelings, sounds, smells and words. Thus, this presentation format is that of a dialogue/ performance as the presenters attempt to resist discursive borders of social science and the arts by occupying both.

This proposed photographic exhibition concerns the topic of injecting drug use and the environments used for the injection of heroin and crack-cocaine. This exhibition has emerged from over 5 years of ethnographic fieldwork conducted by the photographer/author as part of three separate studies of street-based injecting drug use located throughout the UK. These studies have involved visits to almost 200 public settings affected by injecting episodes and/or drug-related litter in addition to interviews/attachment with 72 injecting drug users and 170 agency representatives.

The exhibition consists of selected images taken during ethnographic data collection within drug using environments. An estimated 100 photographs will be used to provide a 'photo-ethnography' of injecting drug use in street-based settings. These images will be organised into three themes; place, litter and management.

The exhibition aims to provide a meaningful insight into the lives of some of society's most vulnerable members. Individuals who resort to injecting within public settings are typically homeless with long term dependency issues and entrenched injecting lifestyles. This exhibition does not aim to glorify or demonise injecting drug use/rs, but instead portray the environmental settings of drug dependency and homelessness. However, the exhibition is primarily an attempt to raise awareness of the harms associated with public injecting drug use via visual media. A further aim is to demonstrate the way in which applied visual methods may provide service relevant data that have the potential to motivate development and/or intervention within local settings.

From 2008 until 2011, the author carried out a research project in northern Thailand, in the course of which some 50 old ethnographic films from the 1960s were repatriated to archives in Thailand, but also to the Akha and Hmong villages in which they were originally shot. Together with the films old photographs were also used and returned to the people portrayed half a century ago or their children. Following the success of that project, a very similar one was carried out in 2010 and 2011, in which the author repatriated films and photographs to Kiribati/Micronesia. Together with oceanist Wolfgang Kempf, both photographs and films were used to retrieve feedback information about culture change from the 1960s to the present. The paper describes both projects and their visual anthropological methodology and concentrates on an analysis of the photographic parts, discussing the advantages and disadvantages of the two media in comparison.

This paper examines the politics and poetics of a film archive. It raises questions not only about the patterns of engagement, suppression, and unspeakability but more importantly about the invisibility of celluloid film in the public space and public consciousness. The 20th century has shifted from 'object as knowledge' as Margret Mead ('Visual Anthropology in a Discipline of Words') suggests; images have replaced the objects itself. What kind of narratives are film archives constructing and for whom? In my current ethnographic research at the bfi, which began with watching ethnographic films and taking photographs of the viewing areas, I am exploring the ways in which staff members and users of the bfi make sense of the archive and how they relate to original evidence. The collection, established in 1935 as the National Film Library, now holds around 275,000 feature films. How can a series of photographic images explore the archive as a place, while also asking questions about the relationship between two related but distinct forms of media, photography and film? Leaning on Aby Warburg's 'Mnemmosyne' picture atlas as a form of visual methodology and taking inspiration from fine art photographers such as Candida Höfer, the presentation will be presenting a series of photographs taken at the archive and the conservation areas since the inception of the project in November 2011. The archive in relation to both media, photography and film therefore, I am arguing in my paper, is a place of forgetting, a place of memories and dreams.

Photography is inextricably linked with memory, a photograph freezes a moment in time and holds it in an eternal present. The quality of photography as a trace of reality makes it a particularly good medium to mediate the relationship between memories of trauma and the generations that follow, according to theories of postmemory.

In this paper I will discuss my use of photography as a method of examining how I relate to my ninety-one-year-old grandmother's childhood memories of Berlin before she was forced to leave as a Jewish teenager in 1933. My autoethnographic research uses photography as a visual methodology to investigate what happens to memories as they are passed down the generations, in particular how they affect my own relationship with the city space of Berlin in the present. Walking around the city listening to recordings of our conversations about the time my grandmother spent in Berlin allowed me to immerse myself in its past while seeing its present through the lens of my camera.

Being aware of the powerful relationship between photography and memory, as a photographic practitioner I am using photography in a conscious way to confront the experiences of my own family members in the past. I hope to make visible by my photographic acts my relationship with past events of the city of Berlin and the individual and collective memories that haunt it.

How do we remember and commemorate the history of a neighbourhood? How might the personal memories of a location, captured in the home or family photograph, intersect with public place? During the summer of 2012, members of Concordia University's Mobile Media Lab explored these questions with a community of senior citizens, almost all of them with recent experiences of immigration, at Montreal's Atwater Library and Computer Centre, as we worked together to produce a public exhibition of photographs. In the process, seniors learned to scan, preserve, organize and share images representing their life stories. The aim of our project is to engage senior citizens in a co-curatorial experience of communal narrative building to facilitate storytelling through both analog and digital media, and to critically examine what a communal engagement with the personal photograph might reveal about its role in social memory and life, as well as the boundaries between intimacy and public display.

In this paper, we will suggest new curatorial methods, informed by participatory media research, for using photography and other forms of digital media to investigate private memories and public places in the context of urban life. Recognizing that photographs not only represent but also act within the world (Olin 2012), our research is particularly concerned with the social dimension of photography and memory. Our work draws inspiration from José van Dijck's suggestion that personal photographic collections raise important questions regarding the creative and transformative possibilities of digital technologies for both cultural and private memory (van Dijck 2012).

Now, more than before, ethnographers are using visual and digital images and technologies to research and represent the cultures, lives and experiences of other people. Theoretical and technological innovation have made the visual both acceptable and accessible to anthropologists and this has created a contemporary context where new ethnographers media, methodologies and practices are emerging

I started with this statement where I inspire to choose my theme for research, and I named Photography of Albanian Family, How photography might be engaged in the processes which ethnographic knowledge is created and represented. Photography will became central to the development of my fieldwork in a number of ways. First, the photographs served as a notebook. Using photographs is an interview bring anthropologist to understand reality in new ways and can act as an important prompt when the anthropologist does not know how to set out a question. Through my paper I will try to tell something important about how we come to understand the story of our lives through the pages of the family photo album. Photography has become the family's primary means of self-representation.

Through my paper I will focus on the construction of the individual subject in the family and on the family's construction in culture and society in the visual field- on the ways in which the family is inscribed within a heterogeneous system of representation. Family photos have also proven a powerful means for shaping personal and cultural memory. These photos will kind private memory to collective history.

Cruise ship tourism is a growing and increasingly visible phenomenon in post-industrial port landscapes. My research focuses on the transitory transformations and elusive mobilities introduced by the presence of these ships in the places visited, through the use of experimental and sensory ethnographic methodologies.

Playing with photography as a research method, I'm using time-lapse techniques, trying to capture the ephemeral social, spatial and material interactions and dynamics happening during cruise calls, embarkations and disembarkations. Sequences of still photographs, taken within several cruise terminals, transit (port and urban) spaces, and waterfront and aquatic environments, are animated through montage and combined with direct sound recordings, to produce video installations. Crossing the boundaries of academic representation, I'm engaging with art practices to create aesthetic, poetic and alternative perspectives to the common a-critical cruise ship tourism' institutional and business representations.

In this presentation, I'll share fieldwork outcomes from the ports of Bergen and Barcelona, and discuss the processes and performativities catalyzed by the use of time-lapse photography in a sensory hybrid art-research approach.