Phototherapy and Therapeutic Photography in a Digital Age

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From , with Jo Spence, she pioneered re-enactment phototherapy. She has exhibited internationally and published widely since Her work has explored issues including gender, sexuality, ageing, class, desire, memory location, urbanism, family dynamics, shame, health and disease, bereavement, grief and reparation. Recent publications include essays in The photograph and the album , Phototherapy and therapeutic photography in a digital age and Ageing femininities, troubling representations Skip to navigation Birkbeck, University of London.

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Phototherapy and Therapeutic Photography in a Digital Age

Rachael Allen. Suzannah Biernoff. Joanna Bourke. Ana Carden-Coyne. Tom Corby. Fiona Johnstone. Rosy Martin.

Who is Doing What, Where? | PhotoTherapy & Therapeutic Photography Techniques

It creates a space for them to speak, share, feel empowered and meet new people they may not have met otherwise. Sharing their personal stories helps build their confidence and individuality, encouraged by a safe space built on respect and empowerment. Nina stressed that among the important lessons for her as an educator is to understand that teachers are also students, and each session is a collaborative effort.

This perspective shifted her photographic process from simply telling a story about communities to involving communities in the conversation. Nina continues to teach visual and social workshops like the Phototherapy program across the US. While that particular program concluded with her move to Arkansas, it served as her inspiration for the multi-generational photo workshop and youth photo boot camp she facilitated in the state. What I love most about my X-Pro2 is the electronic shutter mode, which has helped me tremendously as I capture stills on film sets, intimate moments with families, and at the William Hodson Senior Center where I used to teach.


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I used XF mm f2. When she did manage to take photos around the senior center, she was able to channel what she learned from her students in terms of visual storytelling. A portrait of Mr. Since I was the facilitator, it was quite difficult to document unless we had a speaker, on a field trip or when my students split up in pairs to photograph each other or photograph the neighborhood.

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Truly miss my students. How I view visual storytelling now has a lot to do with what we collectively shared in class.

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She describes her work as a mixture of her past experiences, with the goal of bridging documentary, personal elements, and fine art. Her visual storytelling style, she said, has been present since she first picked up the camera. It was developing the confidence to pursue what she thought was interesting instead of being told what was acceptable that she had to learn over time.

As a creative, she allows her own artful approach to come out naturally.

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The strength of documentary photography, for her, lies in both having a good eye and an understanding and respect for the people in front of the lens. Apart from exhibits, she was one of the three photographers awarded with the Getty Instagram Grant in , and a recipient of a reporting grant from the Pulitzer Center on Crisis Reporting.

As a visual storyteller, she seeks to reveal the beauty of truth and honesty at its core. For her personal projects, she ensures that each one feels personal and uniquely her by reshaping how she communicates visually, and to whom. By asking that question I became more interested in the non-traditional photographer, the communities I photograph and how individuals see themselves in modern-day photography.

Rosy Martin

With a Fujifilm digital camera at your fingertips, you can seize the moment, share your story and build your legacy. Joy Celine Asto. We use cookies to ensure that we give you the best experience on our website.

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