Photo Projects Research Articles

“Can I speak that यहाँ पे (here)?”: Emergent bilinguals navigating intersectional inequities with relational multimodal multilingual practices in elementary school

ABSTRACT This paper highlights the stories of two grade 2/3 emergent bilinguals, Jay and Pari, to underscore the need for more inclusive listening for the experiences of marginalized learners and to offer relational, multimodal, and multilingual pedagogical designs. Framed by theories of intersectionality, translanguaging, and multimodality, I present moments from a collaborative multilingual photo project, Something/Someone I love, and center Jay and Pari’s identities – newcomers marginalized as ELLs, racialized students from low-income families – and their gendered experiences. The children negotiated the identity categories within the classroom’s social and academic worlds and shifted their deficit identities. Jay took up writing in Spanish and digitally editing a favorite car photo; Pari shared a photo of her stuffy, reflecting multiliterate competencies in her Hindi and English narratives. Jay and Pari drew on their communicative repertoires for connection and achievement, transitioning their languages, experiences, and emotions as valued resources. Yet this shifting of identities was not straightforward and normative English-only discourses were apparent. Three themes connect their stories: bridging multimodal and multilingual practices to celebrate capacities; focusing on relational and emotional processes to invite children’s experiences; and challenging dominant language ideologies for equitable learning. Implications center on redesigning the relationship between children’s lived experiences and school practices toward more inclusive listening for equity and relationality.

Embodied Creative Practice as a method for cultural recovery.

We exist in the marriage of physical and spiritual remembrance. It is in these spaces that we identify with our physical and imagined bodies.’” (Saye, 2017, p. 42).” This paper weaves through my artistic journey, and my adoption of an embodied practice, as a methodology of recovering my voice and self, as a creative practitioner. This paper examines the photograph as an immortal object that transcends time and space, and highlights its capabilities in producing non-linear narratives, challenging fixed notions of time which underpinned the western colonial project. Through my analysis of works of the British Gambian Photographer Khadija Saye, and my photo project ‘Orí Inú’, I showcase the ritualistic process of photography, as a liberatory force of sustaining life, as well as its capabilities in carving a space of solidarity for the photographer and viewer. By focusing on Ìṣẹ̀ṣe (Yoruba Spirituality) and Spiritualist Photography, I demonstrate the power of photography in imagining speculative possibilities, that go beyond the normative understandings of marginalized bodies, and the rethinking of our vulnerable world.

Master’s Photo Art Project “Never Again?!”

The author’s idea for the Master’s photo art project was to create a photo project about the elderly who are over 80 years old. It was based on the desire to reveal the inner world and life experience of the elderly. The photo project reflects not only the external beauty of the aged but also the deep emotions captured in the eyes and expressions of the characters. The series consists of portraits of both men and women that become a kind of story, telling the story of the courage, resilience and inner strength of those who witnessed the remarkable historical events over many decades. These photographs, which convey expressive emotions of pain and fatigue, try not only to capture the physical appearance of the heroes but also to convey their experience, courage and unwavering belief in peace and justice, even in the most challenging times for Ukraine. Through the details on the faces, one can feel the deep emotional grief and the burden of life experiences placed on these people’s shoulders over the years. The eyes are the centrepiece of the photographs and attract special attention. They are imbued with pain and sadness from having to relive the war period. The deep wrinkles around the eyes add to the intense expressiveness, showing that time has taken its toll and left its marks on the faces. The sad eyes and closed lips express fatigue and exhaustion, indicating the burden of the years behind the characters. Some of them still have hope for liberation from physical or emotional suffering, while others are depressed and hopeless.

The Work of Valeriy Miloserdov: Ukrainian Social Photography of the 1990s and 2000s in the Context of Contemporary Art Trends

The article is dedicated to the work of the outstanding Ukrainian photographer Valery Miloserdov, whose photo works and big photo projects, which he began to create since the 1980s, are today not only important documents of the time, but also entered the space of contemporary artistic culture, actualizing a wide the circle of the latest artistic issues, namely: the document as an artifact, social photography as cultural research, the place of documentary photography in contemporary art. The artist's work emphasizes the multi-meaning of the documentary photo in the modern cultural space, the importance of the author's point of view, which imbues it with individual perception, thus translating it into the realm of art, where photography is one of the most influential conceptual practices today.

Ethical Dilemmas, Rewards, and Lessons for the Future: Conducting Participatory Photographic Research With Asylum Seekers

This paper draws on my experience of organising a photovoice project with asylum seekers to outline the ethical dilemmas and rewards of planning and facilitating a participatory, creative research project with a hard-to-reach, potentially vulnerable population. It offers lessons learnt and useful insights for others considering a similar approach to data collection. The photo project was utilised to explore the impact of involvement with community-based social protection on the self-reported wellbeing of asylum seekers in the United Kingdom. It was also designed to test the efficacy of the photovoice research methodology to produce simple, impactful findings useful for researcher, research participant and policymaker, empowering those who have often had little voice in community development to inform policy discussions. The paper is written from the author’s perspective, adopting a layered approach that utilises fieldnotes, quotes from project participants, and exhibition attendee feedback to provide a rounded description of the project. It pays particular attention to ethical dilemmas concerning project access, recruitment and communication and the complexity of juggling academic ethical rigour with a community-led approach across cultural and linguistic borders. It highlights how power dynamics can be experienced in the research environment entangled with issues of co-researcher dignity, ownership, and vulnerability. It also details the positive outcomes of the photovoice project in relation to collaborative knowledge creation, empathetic understanding, and advocacy opportunities. The author concludes by offering a summary of the key lessons learnt through the project and their implications for future research.

The Effects of Head Pose and Face Roundness on Age Progression in Children Faces

Background: This paper analyzes the geometric changes in human face during childhood to estimate the related age; cranial changes are used as age-progression features within childhood stage (0-12) years. Infant face is close to the circular shape turning to an ellipse shape over age progression face oval is determined and drawn using face landmarks, were it’s robust against opening mouth, thinness, fatness or face occlusion by hair.
 Materials and Methods: The experiments depending on two types of face dataset. First one is the standard FG-NET dataset, which was provided with face landmark points numbered from 1 to 68 [14, 15]. Besides, an Internet-based collected data set of (3010) face images extracted from Daily Photo Project.
 Results: Drawn face ellipse provided set of measures that significantly modeled changes in forehead size and face roundness. Studied age period was between birth and 12 years old. Exaggerated head size at birth provides round face with big forehead, which starts shrinking as age progresses natural face.
 Conclusion: Face ellipse provided efficient measures and distances to represent face changes along childhood. Comparing with published researches in young-face age estimation, proposed face ellipse recorded encouraging results.

Visual research programs of Yakut intellectuals in expedition projects of the 1930-1940s. Institute of Language and Culture at the Council of People's Commissars of the Yakut Autonomous Soviet Socialist Republic and the Yakut Museum of Local Lore by Em. Yaroslavsky name

The subject of the study is the visual aspect in historical and anthropological study of the population and ethnic groups of the Yakut Autonomous Soviet Social Republic, implemented in the course of field research by employees of the Research Institute of Language and Culture at the Council of People's Commissars of the Yakut Autonomous Soviet Social Republic (1935) and the Yakut Museum of Local Lore by Em. Yaroslavsky name. In the 1930s-1940s through the joint efforts of the staff the Institute and the Museum, a new array of visual sources is being formed that characterizes the traditional everyday life of the population and ethnic groups living on the territory of the republic. The purpose and objectives of the article are determined by the need for a special review the corpus of visual sources, and in it a special analysis of the author's photographs collected as part of expeditions by employees of the first research institute and the local history museum of the Yakut Autonomous Soviet Socialist Republic during the period under study. The methodology for studying visual heritage is based on an interdisciplinary approach to the study of traditional culture and its objective world, as well as expeditionary photo projects as phenomena the visual culture of their time.

Arif Hidayah’s Authorship in the “Memories of Home”

Authorship is an attitude of a creative worker, which in this context is a photojournalist that can develop over time. In this study, researchers examine the form of ideas that exist in Arif Hidayah in visualizing the Tamansari community with the title “Memories of Home”. This study aims to determine the form of Arif Hidayah’s authorship in terms of aesthetic competence, personal implications and the meaning of Arif Hidayah himself in understanding substance. The researcher used qualitative research methods with an authorship case study approach. Data collection was carried out through in-depth interviews, observation and literature studies. The results showed that, (1) Arif Hidayah chose the type of composition, lighting and display in accordance with Arif Hidayah’s personal ideas, (2) Arif Hidayah’s personality has implications for creating the subject’s background within the scope of education, work, family and interests that is in Arif Hidayah to visualize the Tamansari community as a victim of eviction, (3) All meanings in visualizing the Tamansari community, Arif Hidayah always keeps the meaning in terms of the understanding that exists in Arif Hidayah, (4) The idea in Arif Hidayah’s photo project is the connection between his background ideas and Arif Hidayah’s mastery of the technical aspects of photography itself. These aspects are interconnected because Arif Hidayah’s imagination regarding the Tamansari community is based on memories and memories of his past, which are unconsciously conveyed through journalistic photography techniques in the “Memories of Home” project.

Role Of Natural Environment As Stimulating Outdoor Play Space For Children – A Study Of Bhopal, India

Play is the origin of all learnings in children, it lets you explore, discover, take risks, fall, succeed, become spontaneous, creative and test many other capabilities. Furthermore, as playful activities are fun and purposeless, they significantly contribute to their physical, social, cognitive & emotional development. To be able to play freely is the right of every child. But in the present scenario of rapid urbanization, increased traffic, pollution, crammed spaces and other hazards have diminished their access to natural outdoor environs. This has led to ignorance of quality and dedicated play spaces. As a result, they are forced to play in poorly designed grounds often hammered with repetitive equipment which leads to a rigid and monotonous play pattern. It has been found that the children have affinity towards natural elements & it nurtures their overall growth. As nature unfolds its complex and unexpected experiences of rain, waterfall, wind, birds, mud splashing and leaves falling, it sparks curiosity while it provides an arena to play. Every child responds in multiple ways to these interactions with nature, and hence creates a plethora of opportunities to enjoy and learn innocently. This paper aims to study these natural relationships & the prospects it creates for a ‘quality’ play that can accommodate a child’s needs & behaviour. The methodology for this research includes qualitative analysis (behaviour mapping, photo projection) and quantitative survey (social questionnaire). This study shall become the basis for the landscape architects to design play spaces integrated with natural environment.

Phototypology as a method of displaying the formation of the urban environ-ment in a modern photobook

Purpose. To figure out the directions of development and origins of the modern photonbook on the examples dedicated to the effect of the Soviet culture on the formation of the post-Soviet urban environment.Methodology. In the process of research, the following methods were used: art analysis, analysis of theoretical and historical preconditions for the development of the typology of a modern photobook that displays the urban environment; synthesis, generalization and systematization of the received information; methods of induction, deduction and comparative analysis.Results. It is shown that photobooks, dedicated to the influence of Soviet heritage on the formation of urban environment and landscape, continue the traditions established by the Dusseldorf School of Photography with some differences affected by the rise of publishing and design technologies. It is determined, that the characteristic feature of a modern photobook is a wider freedom in the choice of the target objects, angles of view, shots. But the concept of documenting the same or similar objects remains. Minimalism in the design of the indoor unit and cover, concise use of several options for repeating modular grids - the trends that unite the latest published photobooks.Scientific novelty. Typological features and principles of the design of one of the actual directions of the modern photobooks are revealed, which tend to continue the traditions of photographic typology as a form of presenting a photo project. Distinctive features in the formation of the design of such photobooks, associated with the development of modern digital technologies of photography and layout, are defined.Practical significance. A retrospective art analysis of photobooks, dedicated to the reflection of the urban environment, was conducted. The research is an important link in the further study of the history of the development of the photobook, as the implementation of the creative project of the photographer.

Home office: the places where we worked - a directive sent out to friends, friends-of-friends, and colleagues - March/April 2020

“Home Office: The Places Where We Worked” is a directive based photo project that asked participants to take photographs of their work places during the early months of the COVID pandemic of 2020.

But Can I Take a Selfie?: Utilizing Photography as an Interdisciplinary Approach to Environmental Philosophy Assignments

This paper discusses the value in implementing photography as a means of assessment in philosophy courses. I specifically discuss how I utilize this interdisciplinary method in my honors environmental philosophy course with encouraging results, and how it can be easily employed in other philosophy courses as well. Photography is the basis for one of my larger course projects, the environmental philosophy in photo project (EPPP). The EPPP offers students novel methods of applying and understanding environmental ethical theories and new ways of making meaning. In the following, I offer a defense of photographic methods for philosophical assessments, project instructions, student learning objectives and feedback, overall effectiveness of the project, and potential uses of photographic methods in other philosophy courses.

Images of north-east Asia in expeditional and author's photo projects: strategies for visualization of research objects in the II half of the 19th - the beginning of the 20th century

Yakutia is a region, where 40% of territories are located in the Arctic zone; it belongs to a geographic zone with extreme natural and climatic conditions, where traditional types of farming continue to prevail. Today, the modern processes in the field of ethnic selfidentification and revival take place in it considering its geopolitical significance, as well as the study of their historical past, and are of particular relevance, where not the last role is played by visual and anthropological resources that are currently preserved in institutions of historical memory (museums, libraries, archives). The visual image becomes a key unified means of influence. Using the example of the Yakutsk region, the article examines the aspect of the visual development of the north-eastern territories of the Russian Empire as a form of scientific knowledge developed by Russian academic science in the process of their study. The systematic use of artistic practices (pictorial recording, photography) in the scientific and methodological tools of the research carried out subsequently had a great practical result, and had formed an impressive layer of visual anthropological materials. The paper examines the main visual images representing a multi-ethnic region.

Borderline: Frontiers of Peace

From Portugal to Bulgaria, from Finland to Greece, photographer Valerio Vincenzo zigzagged along the length of nearly 20,000 kilometers of borders between the countries that are part of the European Union and/or the Schengen Area. Considering Europe’s history over the 19th and 20th centuries, full of scars, walls and trenches, these images document a silent revolution. Barely sixty years ago, the Schengen Area was merely a utopian notion. This photographic work shows a utopia that has become reality. Europe received the Nobel Peace Prize in 2012 for such an achievement. The Nobel Committee stated, ‘The union and its forerunners have for over six decades contributed to the advancement of peace and reconciliation, democracy and human rights in Europe.’ 
 Today, the final words of this statement are being called into question, as indeed are the construction of Europe and the Schengen Area, too. Is Europe caught in a dilemma between its values and the pragmatic difficulty of enforcing them? Will the images included in this project end up relegated to history books, witnesses to a bygone age? 
 Borderline, Frontiers of Peace was awarded the 2013 Louise Weiss Prize for European Journalism, the first time that such an award has been granted to a photo project. The project has been exhibited numerous times, notably at the UNESCO headquarters in Paris in 2015, St. Petersburg (Russia) in 2016, Brest and Orléans (France), Zagreb and Vukovar (Croatia) in 2017, Sarajevo (Bosnia & Herzegovina) and the fortress of Salses (France) in 2018, Amiens (France), Berlin and Bamberg (Germany) in 2019, Tallinn (Estonia) and Lübeck (Germany) in 2020, and Strasbourg (France) and Cuneo (Italy) in 2021. Valerio Vincenzo is currently extending his project to the now peaceful borders of the Balkans.

Talkative Skin / Skin Talking Back

This essay focuses on skin as a surface that lends itself to projections and societal attributions of all sorts. It deals with writings on skin, latent texts as well as strong marks, with transgressions and transcriptions of somatic data into moral issues, with the blush in eighteen-century portraits of women and the shameless behavior in online performances of young women today, with reddened cheeks, as well as snow-white and smeared bodies. It deals with the “fairer sex,” ideological constructs of purity and innocence, and deliberately disfigured skin, with acts and re-enactments of violence and aggression, rebellion, and defiance. And it presents a photo project by the Austrian artist Iris Andraschek that gets under your skin.

WEBSITES OF ARCHIVAL DIRECTION WITHIN CONDUCTING GENEALOGICAL RESEARCH

The purpose of the article is to analyze the peculiarities of the functioning of archival websites for genealogical research. The methodology consists of using general scientific methods of analysis and generalization. A descriptive method was also used, which allowed revealing the specified question in more detail. The scientific novelty of the presented work is the expansion of ideas about the practical use of archival websites as an interesting comprehensive resource for genealogical research. Also revealed peculiarities of the use of materials of web resources of public and private structures for genealogical search. Conclusions. It is proved that in view of modern world trends of informatization and digitalization of archival institutions the state archives of Ukraine as custodians of valuable historical and cultural heritage are actively working on electronic resources of their own generation, primarily the development of websites. It was stated that purposeful work is being done to fill the central and regional websites of the archives, online exhibitions of documents are taking place, photo projects are being implemented, and contacts with foreign colleagues are being established. which, in turn, is the basis of innovative activities of modern archival affairs. The functioning of archives available remotely to the Internet user is an optimal tool for solving conceptual problems of searching for genealogical material for the study of genealogy, first of all, metric books, confessional documents, etc. Non-state electronic resources are also of great importance, which, first of all, are an important source basis for studying the genesis of one's pedigree.

Russian Orthodoxy in documentary projects of the Russian and English photographers

This article is dedicated to the analysis of distinctive features of the image of Russian Orthodoxy in the works of the contemporary Russian and English photographers. The authors review various aspects of photography as a research tool. They determine the focus of attention of the English and Russian photographers with regards to Orthodoxy, which aspect of religiosity prevail in their works, and which artistic means of photography are used by the photojournalists to express their position. In the course of research of the existing photo projects, the question is raised of whether they seek to capture negative or rather positive aspects of the Russian religiosity. Analysis is also conducted on the degree of the influence of stereotypes upon photo images. Research methodology employs comparative analysis of the documentary photo projects of the Russian and English photographers. The photographers were selected by regional, professional, and objective-subjective criteria. This article is first to refer to the documentary photo projects for analyzing the perception of Russian Orthodoxy by the Russians and foreigners, which defines the scientific novelty and uniqueness of this research. The conducted analysis reveals the similarities and differences in the approaches of the Russian and English photographers. The conclusion is made that the object of research of the English and Russian photographers differ in themes and aspects they pay attention to. The English photographers are interested in religion as a part of the everyday practices of a modern Russian, while the Russian photographers attempt to demonstrate a profound connection of people with the spiritual world. At the same time, both English and Russians photographers capture Orthodoxy in a positive context, at times even romanticizing the image of Orthodox temples and rituals.

Bachelor's photo project “Think in colour”

The author’s message for this Bachelor’s photo project was to analyse the colour palette by researching and systematising the colour spectrum by creating a photo project. This photo project consists of two parts, which differ in the expressive imaging method; the background idea unites them. The main thing was to show the interaction of colours, texture, and the image’s plane. The use­ of paint and different background compositions gave a sense of depth to space. The scientific novelty lies in the fact that a complete spectral analysis is carried out for the first time, compared with the works of classics, analysis of the place in the history of each event associated with a particular colour.

Bachelor's photo project “Street Football”

The author’s message for this Bachelor’s photo project was to study the leading artistic and stylistic solutions of genre photography and reproduce them in a Street Football — photography series. The research covers all aspects of this topic and can be a staging ground for further topic study and consideration.

Diseases of the Indigenous Peoples of Yakutia in Photo Projects of the Late XIX ‒ First Third of the XX Centuries

Disease theme of indigenous population of the Northern national outskirts of Russia, as well as the study of special knowledge in the field of traditional medicine and healing practices, for a long time belonged to the taboo part of knowledge. However, at the beginning of the twentieth century, there was a turning point in the visual culture of region, when the picture of diseases was expressed through the camera and became public. There are works of photographers documenting the course of the most dangerous diseases, such as leprosy and external manifestations of mental disorders. The aim of this study is to study external factors that influenced the genesis of the “medical” series of visual images of the population of Northeast Asia. The research methodology is based on a cultural and historical analysis of the events that preceded its appearance and subsequent application in medical practice in order to document the course of diseases in the Soviet period. This article presents the results of a brief review of the prehistory of the “medical” direction in ethnographic photography of the Yakut region. The circle of photographers of the Yakut region is defined, where stories illustrating the diseases that the local population suffered from are reflected. At the beginning of the twentieth century, footage of medical practices and shamanistic rituals for healing were presented in the photo projects by I. V. Popov and A. P. Kurochkin. In the 1920s-1930s. the genre of “medical photography” is represented by the works of the doctor-epidemiologist T. A. Kolpakova, military surgeon E. A. Dubrovin, unknown with the initial “D”, who worked in the medical detachment of the Commission for the Study the Productive Forces of the Yakut Republic (CYR) The Academy of Sciences of the Soviet Union and the People’s Committee the Health of the Russian Soviet Federative Socialist Republic. The experience of studying this topic serves as a clear illustration of the specifics of the region and in some way confirms the conclusions made by the participants of numerous expeditions that studied the foreign population of the Yakut region and predicted the inevitable extinction in the future. Keywords: medical anthropology, anthropology of disease, visual research, indigenous people, visual text, visual sources