ABSTRACT
‘Ultimately, Photography is subversive not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks’ (Barthes 2000 [1980]). These sentiments and thoughts capture the essence of the methodology I describe in this chapter. As Diane Heckenberg and Rob White (2013; see also White and Heckenberg 2014) maintain, the study of environmental crime requires new modes of observation of the world, and new methods capable of synchronizing the spatial dimensions (global/local) and the temporal dimensions of the ongoing changes occurring in and to our environment (see also Brisman and South 2014, p. 121). Drawing on a case study described in previous work (Natali 2010), this chapter asks: What new horizons are made available for the green criminologist by the development and application of methodological instruments using visual dimensions? What unheard ‘appropriation’ of the world and of its representations can one achieve, renovating and reviving some of the modes through which one sees, looks at, glances at and observes the world (Robins 1996, pp. 8–9)?
