The use, development and ambivalences of photography are widely debated, especially considering the digital revolution. Despite the technological advancements, the core nature of photography remains unchanged. Roland Barthes describes photography as a unique intersection, creating a connection between the present and the past (Barthes, 1985, p. 86). This connection forms the essence of photography – its ability to preserve moments in time, allowing for a deep relational link between the photographer, the subject, and the viewer. As John Berger writes, photographs have a “surprising coherence of what was and is” (Berger, 2016, p. 87), highlighting photography’s role in bridging time, space, and experiences. This relational aspect makes photography a valuable tool for peacebuilding, as it helps foster understanding, empathy, and connection between individuals and collectives. As technology continues to shape and redefine the practices of photography, its essence remains unchanged – one that still holds the potential to serve as a medium for communication, introspection, and relationship-building.
Generative picturing (Brandner, 2020) is a methodology designed to use the essence of photography for peacebuilding. Drawing from Paulo Freire’s generative praxis (1978), it applies photography as a tool to promote self-reflection, dialogue, and mutual learning. In generative picturing, photographs are not simply captured moments but mediating objects for deep reflection, action and dialogue. Photos become tools to celebrate the variety of perspectives and interpretations. As Berger noted, photographs carry a wealth of meanings that can be seen through various lenses (Berger, 2016, p. 88). Generative picturing opens learning spaces for peacefully coping with this variety of meanings and lenses. It begins with a starting impulse – anything from topics, objects or locations to existing photographs or metaphors. Participants are invited to reflect on this stimulus through photographing, capturing images that reflect their thoughts, feelings, and experiences.
Over a period of days or weeks, participants engage in an individual process of selecting and deciding on what is most meaningful to them. Once the photos are taken, participants move into the picture dialogue phase. Here, they share their photographs with the group but initially refrain from explaining them. Instead, other participants are encouraged to respond to the pictures – discussing what the images evoke for them, how they feel, and what meanings they perceive. After this initial phase of the “Other’s” response, the photographer is invited to share his*her own thoughts and reflections on his*her pictures.
The picture dialogue promotes a collective experience of “Otherness” and gives space to express and listen, interpret and understand each other’s perspectives. When the participants have cycled through multiple iterations of photographing and picture dialogues, a mapping process can round up the process. The mapping phase is a collaborative process where participants negotiate themes, topics, and images that resonate most deeply. They reflect on the relationships between different photographs, identifying commonalities, tensions, and nuances. This collaborative synthesis helps participants see the bigger picture of the group’s shared experience, revealing both unity and diversity within the collective narrative. These maps serve as a summary of the process and a guide for future action.
A central feature of generative picturing is the use of analogue and digital photography, which plays a crucial role in encouraging the slowness and reflection necessary for peacebuilding. While digital photography allows for immediate feedback and quick editing, analogue methods require more time and careful thought, promoting mindfulness. This slowness extends beyond the act of photographing. During the picture dialogue and mapping phases, participants engage with physical prints of the photographs. Handling the photos, arranging them in various ways, and reflecting on their meanings require more time and attention than simply viewing digital images on a screen. This tactile engagement deepens the reflection process, creating space for more meaningful dialogue. As Ariela Azoulay puts it: “One needs to stop looking at the photograph and instead start watching it. The verb ‘to watch’ is usually used for regarding phenomena or moving pictures. It entails dimensions of time and movement that need to be reinscribed in the interpretation of the still photographic image” (Azoulay, 2008, p. 14). By slowing down and taking time to watch, rather than merely look, participants engage in a deeper process of reflection. It allows them to dive beneath the surface of the image, to open a dialogue with themselves, the photograph, and the Other. The slow pace contributes significantly to peacebuilding by fostering patience, empathy, and careful reflection, all of which are essential for creating lasting connections in conflict-ridden environments. In this way, photography becomes not just a tool for recording but a tool for transforming the world.
References
Azoulay, Ariella (2008): The Civil Contract of Photography. New York: Zone Books.
Berger, John (2016): Der Augenblick der Fotografie. Hanser Verlag, München.
Barthes, Roland (1985) [1980]: Die helle Kammer. Bemerkungen zur Photographie. Frankfurt a. M.: Suhrkamp.
Brandner, Vera (2020): Generative Bildarbeit. Zum transformativen Potential fotografscher Praxis. Bielefeld.
Freire, Paulo (1978)[1973]: Pädagogik der Unterdrückten. Bildung als Praxis der Freiheit. Reinbek b. Hamburg: Rowohlt.
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Vera Brandner heads the NGO ipsum and works as a freelance scientist and lecturer, designing and implementing international projects in the field of peacebuilding and conflict transformation.
