Abstract As Documentary Photographers increasingly introduce the collaborative and participatory methodologies common to socially engaged art practices into their projects (particularly those that are activist in nature, seeking to catalyse social change agendas and policies through image making and sharing), there is an increased tension between the process of production and the photographic representation that is created. Over the course of the last five years I have utilised these methodologies of co-authorship. This article contextualizes this kind of transdisciplinary work, and examines the ways in which the integration of collaborative strategies and co-authored practice in projects that are explicitly designed to be of benefit to a primary audience (the participants, collaborators and producers) might be usefully disseminated to a secondary audience (the general public, the ‘art world’, critics etc.) through analysis of my projects Red Light Dark Room; Sex, lives and stereotypes made in Melbourne, Australia, and The King School Portrait Project made in Portland, Oregon, America.

中文翻译：

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浏览社会参与的纪录片摄影实践

摘要随着纪录片摄影师越来越多地将社会参与艺术实践中常见的协作和参与式方法引入其项目（尤其是本质上是激进主义者的项目，旨在通过图像制作和共享来促进社会变革议程和政策），两者之间的紧张关系日益加剧。生产过程和创建的摄影作品。在过去的五年中，我利用了这些合著方法。本文介绍了这种跨学科工作，并探讨了在明确旨在使主要受众（参与者，参与者，通过分析我的项目《红灯暗室》，可以有效地将合作者和制作者传播给次要受众（公众，“艺术世界”，评论家等）。在澳大利亚墨尔本进行的性，生活和定型观念，以及在美国俄勒冈州波特兰进行的国王学校肖像计划。