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This article is a "companion" piece to a more general discussion in the preceding article, Brian ROBERTS' (2011) "Photographic Portraits: Narrative and Memory". Here the attempt is to enhance current attention to visual materials by exploring a particular interpretive approach to the photographic portrait—self-image—images taken of us by ourselves or taken by others (portraits taken by friends or relatives, or by professionals), alone or as part of a group. The article is autobiographical in focus; it explores how we "look" at personal photographs and associate them with memories of our past, our current experience, and the future. It uses as examples two school photographs taken in 1956-8 of me (the author) aged six to eight years old and applies a form of analysis employing "time perspectives" and a range of associated concepts. Two narratives are given: first, a commentary on the two school photographs and my childhood development (e.g. physical, intellectual) between six to eight years old, and second, my current outlook and activities and how they connect with the memories raised by the photographs. URN: http://nbn-resolving.de/urn:nbn:de:0114-fqs1102252

This article is a more general "companion" to the subsequent, Brian ROBERTS (2011) "Interpreting Photographic Portraits: Autobiography, Time Perspectives and Two School Photographs". The article seeks to add to the growing awareness of the importance of visual materials and methods in qualitative social research and to give an introduction to the "photographic self image"—self-portraits and portraits. It focuses on time and memory, including the experiential associations (in consciousness and the senses) that the self engenders, thus linking the "visual" (photographic) and "auto/biographical". The article attempts to "map" a field—the use of portraiture within social science—drawing on narrative and biographical research, on one side, and photographic portraiture, on the other. In supporting the use of photography in qualitative research it points to the need for researchers to have a greater knowledge of photographic (and art) criticism and cognisance of photographic practices. The article does not intend to give a definitive account of photographic portraiture or prescribe in detail how it may be used within social science. It is an initial overview of the development and issues within the area of photographic portraiture and an exploration of relevant methodological issues when images of individuals are employed within social science—so that "portraiture" is better understood and developed within biographical and narrative research. URN: http://nbn-resolving.de/urn:nbn:de:0114-fqs110263