​Art and psychology 

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The art object makes Art Psychotherapy practice unique among the psychological therapies, enabling extra dimensions of process and the continued existence of a concrete object between and beyond sessions.  American photographer and social critic Susan Sontag explained how "a photograph speaks more about psychology than psychology does about photography." In her book "On Photography" (1977), she emphasized how photography can reveal deeper truths about the human condition and emotional reactions than psychology as a scientific discipline can. One of the most famous examples of this theme is the "Madonna del Parto" created by Piero della Francesca, an Italian Renaissance painter, around the 1460s. This fresco depicts the Virgin Mary carrying the infant Jesus, symbolizing care, love, and the bond between mother and child. John Bowlby, a British psychologist and psychoanalyst, researched how the early bond between mother and child affects a child's development. Bowlby developed attachment theory during the mid-20th century, about 500 years after the creation of the "Madonna del Parto”.

 

Ways of seeing

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Before the use of photography in therapy, there was a crucial shift towards a different understanding of art and visual media. John Berger was at the forefront of a change in the way visual art and culture were understood. In his book "Ways of Seeing" from 1972 and the accompanying television series, he encouraged a change that made art criticism accessible to a broader audience. He aimed to demystify art and encourage ordinary people to engage with and interpret art for themselves, rather than relying solely on expert opinions. Berger also critically analysed how images and media shape our perceptions, emphasizing social and political contexts.  Berger’s statement that "we see before we speak" underscores the significance of visual experience and comprehension preceding verbal interpretation and this ideas opened the door to exploring the possibilities of applying photography in therapy.

 

Therapeutic photography

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Therapeutic photography is self directed and relates to use of photography for self healing purposes.  Many of us keep old photographs in albums or have even more photos on our phones for various reasons, such as memories of past events. Photography has a descriptive (diagrammatic) function, showing the viewer exactly what is present in the past scene without delving into symbolic or deeper emotional interpretations.

However, our photographs can represent much more to us than evidence of the past, as it carries an embodied image representing our inner world that can be noticed through the associations we have while looking at the photos.

 

 

 

 

 

 

 

 

 

Further, when we have the opportunity to visit a photography exhibition, our embodied image as an observer may also convey the subconscious process of the photographer, and you can feel it when your emotions are touched. 

In both cases, whether observing our own photographs or those made by someone else, this may have a therapeutic effect on us since the image helps us to recall meaningful memories and express emotions.  However, with therapeutic photography, we do not delve into and resolve deeper emotional and other challenges.

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​​​​​​Phototherapy

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Phototherapy involves working with clients personal photos or other photos in a structured therapy sessions.  In the late 1970s, Judy Weiser, a psychologist who started to use photographs in therapy became a pioneer in the field of phototherapy.  Weiser realized that images observed in photographs help us process emotions, trigger meaningful memories, and provide a deeper understanding of our personal and shared experiences. In 1999 Weiser published the second edition of her seminal 1993 work "Photo Therapy Techniques: Exploring the Secrets of Personal Snapshots and Family Albums," delves deeply into these concepts and their therapeutic applications. Judy Weiser developed five basic technique in photo therapy:

• Photo-Projective Technique: where clients use their own photographs to project their thoughts, feelings, and experiences. By discussing the images, they can explore their internal world and gain insights into their emotional states.

• Photo-Portrait Technique: this technique involves examining and discussing portraits of oneself or others. The focus is on understanding the relationships, self-image, and personal identity depicted in the portraits.

• Photo-Family Album Technique: clients use family albums to explore family dynamics, histories, and relationships. The albums provide a rich source of material for discussing familial roles, connections, and emotional patterns.

• Photo-Life Review Technique: clients create a chronological photo narrative of their lives. This life review helps in reflecting on past experiences, understanding personal development, and integrating life events.

• Metaphorical Photo-Technique: clients choose or create photographs that symbolize their feelings, thoughts, or situations. This metaphorical representation aids in expressing complex emotions and can lead to new perspectives and solutions.

 

The concept of use of photography in therapy has been explored by various authors, each contributing to different approaches and methodologies. You can learn more here:  https://phototherapy-centre.com/who-is-doing-what-where/

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Jo Spence was a pioneering British photographer and camera therapist whose contributions to photo therapy field were profound, making significant strides in how photography can be used for personal healing and social critique.  In the early 1980s, she began documenting her battle with breast cancer, using her camera to explore and confront personal and societal issues. In her series "The Picture of Health where she took control of her own representation to challenge traditional portrayals of women and patients.  In 1984, Spence started working with Rosy Martin on "photo therapy," a collaborative process that used photography to help individuals express and process their emotions and experiences. Their work together was ground breaking in demonstrating the therapeutic potential of photography.  In 1986, Spencer published "Putting Myself in the Picture," which combined her photographs with autobiographical writing and theoretical essays on the intersection of photography, identity, and therapy.

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Phototherapy might one day find a way to becoming a recognized profession or recognized additional qualification for counsellors, psychotherapists and other mental health professionals.

 

Photo Art Therapy

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Photo-Art-Therapy relates specifically to the use of photography by art therapist together with other traditional art therapy techniques.  Photo-Art-Therapy was developed in parallel with the evolution of new perceptions of visual media and their role in therapy. 

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Media in Photo-Art-Therapy  and phototherapy primarily involve photographs, either taken by or of the client or sourced from various media. It utilizes photography as a tool for expression and exploration. This can include taking new photos, using existing photos, photo collage, and photomontage. It emphasizes the visual storytelling and symbolic meaning within the photographic image.  Photo-Art-Therapy provides a direct and tangible connection to reality and personal experiences. It can be especially powerful in exploring identity, memories, self-image and personal narratives through visual representation.

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Basis of Photo Art Therapy

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Photo-Art-Therapy is based on Freud's idea of symbolism, Jung's archetypes, and systemic concepts, using photos to uncover hidden emotions and universal themes, as well as theories and techniques from Adler, Klein and other therapists. Freud believed that symbols in dreams and images represent repressed desires and conflicts. Jung's concept of archetypes includes universal, recurring symbols and themes that resonate deeply within the human psyche worldwide. Additionally, broader approaches to the therapy can be used to help clients adapt by exploring and organizing their personal narratives. 

 

Today we can move from traditional approaches to science that confirms how images work more powerfully than words in a brain.  John Medina, a developmental molecular biologist focusing on brain science, explains in his book "Brain Rules" (2008) how the brain prefers images over text. He states that visual information is processed 60,000 times faster than textual information and that people remember up to 65% of visual information even after three days, compared to only 10% of verbal information.

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In 2005 Helen Fisher described in her book "Romantic Love: An fMRI Study of a Neural Mechanism for Mate Choice", a biological anthropologist, studied brain responses using functional magnetic resonance imaging (fMRI). Her research found that looking at pictures of romantic partners activates specific brain regions and evoke memories and emotional responses similar to actual experiences due to the brain's ability to recall associated feelings and contexts. Fisher's research therefore implicitly confirms the photograph's capacity to embody what is depicted.

 

Bessel van der Kolk is widely recognized for discussing trauma responses, especially the "freeze" response. In his seminal work, "The Body Keeps the Score" (2014), van der Kolk explains that traumatic memories are often stored in areas of the brain that govern non-verbal and bodily functions, such as the amygdala, hippocampus, and parts of the brainstem, rather than in the areas responsible for verbal processing and conscious thought.  Bessel noted that traumatic experiences can alter how individuals process visual stimuli and visual stimuli reminiscent of the trauma can trigger intense emotional and physiological responses.

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Peyton in her book What the heck is Relational Neuroscience? (2023) describes what relational neuroscience is and how it conceptualizes that our brains integrate and heal through various domains, with photographs serving as talismanic objects that stand in for people, helping individuals process relational experiences. This field explores how our brains function within relationships and how objects, like photographs, can hold significant emotional and psychological connections.

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Image as a central point in Art Therapy

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An image, whether it is a painting, a photograph, or another artwork, is a central point in art therapy. Art therapy is not solely non-verbal or verbal therapy but rather supraverbal (one of Wheeler's favourite points), where the image is a centrepiece. Art therapists integrate the analysis of images with words to find meaning. The use of images and visual representation enables individuals to externalize and examine their internal experiences in a tangible form of art, facilitating self-awareness and emotional healing.

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An image serves as a safe container that helps transcend traditional communication methods, allowing a unique exploration of the subconscious and bridging the gap between words and feelings.

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Plasticity in Photo Art Therapy

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Plasticity, that we can achieve in working with photography in therapy is a central point of photo-art-therapy. The plasticity seen in painting and working with clay may not be immediately apparent in photography. Photography captures a glimpse of a past moment of something that we assume may have existed and, at the same time, does not exist. Plasticity in photo-art-therapy is achieved when exploring and changing the client's position, context, and narrative of the events shown in the photograph.

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For example, if a client brings an original photo, we can work with a black-and-white copy, which already changes the context. Or the client could simply look at the original photo through different colourful lenses or even plastic sheets in various colours.  The therapist may support the client in further modifying the copied photo, engaging in conversations with the photo, using 'circular questioning' to interrogate the photo, and even inviting conversations with multiple photos.

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The therapist may also help clients explore different positions towards the image shown in the photo. People often remain fixed in their life positions, much like the initial photograph, and we help them find different positions that work better for them. We help them in therapy to explore and experiment. For example, if a client has an unfavourable position in a relationship, they may explore through photography to find a different position that works for them. In this case, photography serves as a safe container where clients explore, in addition to the descriptive details of events shown in the photo, also their emotional responses (hidden embodied images) that arise from observing the photos emerging form subconscious/unconscious material. Two people looking at the same photo will not have the same interpretation and feelings because of their personal embodied images that arise while observing the photo and the phenomenology of the encounter.

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Systematic contexts of images

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In 1994, Burnham described five steps in family therapy to systematically resolve relationship challenges by supporting clients in changing conversational context and moving through different levels of contextual forces to help them resolve situations. These steps were modified by Wheeler and Stein (2004) to address working with photographs:

• Cultural context: Includes society, nation, local identity, ethnicity, and its stories and customs, such as taking photos of weddings but not funerals.

• Family scripts: Generalized statements, habits, or stories; who takes the picture, who controls the setting, and the personal stories of each family member.

• Relationship context: The nature and description of connections, and to whom photographs are shown when taken.

• Episode: Relates to transitions, crises, life events, and the activities that are photographed.

• Behaviour: What people do and say, what the subject is performing in the photo, reactions of viewers to the photo, and the decision to show or not show the photo.

• Individual personal psychology: The internal world, capacity for attachment, internal models grown from experiences, and the emotional connotation when a photograph is shown (including modified images).

 

For example, in a therapy session, you might have a teenage son and a father who is strict and forbids the son to go out and stay past midnight "because this is how it's done in this family." The son, whose "friends all stay out all night," may work on changing the context to "on Friday, my friends stay out until midnight." Meanwhile, the father may work on changing the context to "this Friday is a concert with your favourite band, so you may stay out until midnight, but not every weekend and always with permission."  Photography may be used as a tool to exercise conversations before they actually happen in real life.

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Working with trauma

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Exploring a client's coherent narrative before a traumatic experience is crucial because it helps clients understand the context and chronology of their experiences, aiding in the integration and processing of traumatic memories. For instance, a client who experienced a traumatic event in adulthood might benefit from discussing their stable and fulfilling life prior to the trauma. In Photo-Art-Therapy, the client might create a collage or a time-line representing different phases of their life, including happy memories and achievements before the trauma. By constructing a detailed and organized life story through these images, they can see the trauma as part of a larger continuum rather than an isolated, overwhelming event. This approach, used in therapies like Narrative Exposure Therapy (NET), allows for better emotional processing and integration of trauma-related memories, facilitating healing and recovery (Schauer, Neuner, & Elbert, 2011; Neuner, Schauer, & Elbert, 2005).

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Behavioral Activation Therapeutic Photo Walk

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Alongside the various techniques involving photographs that Wheeler integrates into individual and family therapy, different situations have created a need for new ideas. Thus, his innovative approaches include the Behavioural Activation Therapeutic Photo Walk, which were particularly effective in treating anxiety and other mental health conditions during the COVID-19 pandemic.  The therapist and the client walk together, respecting the required distance due to lockdown, and at the same time being in the presence of another human being, helping them to overcome the isolation of lockdown. The client can then do this for them selves between sessions every day and after they have been discharged from the mental health service.

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Post-COVID, the use of Behavioural Activation Therapeutic Photo walk has developed in many creative ways but these arose from ideas Wheeler used even before training as an Art Psychotherapist. For example, consider a social work client whose father had been an alcoholic and often displayed aggressive behaviour towards family members. The client decided to revisit the bar where her father spent time consuming alcohol. The client chose not to enter the bar but directed the therapist to enter the bar and take photos of the interior. Later, the client repositioned herself in front of projected photos of various childhood locations (including the bar outside door). This enabled the client to reposition herself psychologically as well as in the picture. This symbolized for her the process of addressing some painful memories in a safe and controlled manner.

 

Photos with talismanic quality

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Some photographs may have a talismanic quality as described in relational neuroscience. For example, if a client is carrying a box of photos of past family members, that client is actually carrying a token of the presence of people who have died. Thus, photographs have the quality of being both a pseudo-presence and a token of absence. In 1999, Joy Schaverien, in her notable book "The Revealing Image: Analytical Art Psychotherapy in Theory and Practice," described how some images can carry deep emotional and symbolic meaning for individuals. These images act as talismans, helping clients access and process complex emotions and memories during therapy.

Relational neuroscience conceptualises that our brains integrate and heal through various domains, with photographs serving as talismanic objects that stand in for people, helping individuals process these relational experiences. Relational neuroscience is constructed with photographs as talismanic objects standing in for people. This field explores how our brains function within relationships and how objects, like photographs, can hold significant emotional and psychological connections. Peyton, S. (2023). What the heck is Relational Neuroscience?. Available at: Sarah Peyton [Accessed 10 June 2024].

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Berevement Art Therapy

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An example of bereavement photo-art-therapy is creating a collage of photographs representing different stages of the grieving process, allowing individuals to visually express and process their emotions related to the loss. Another example involves creating a memory book where individuals compile photographs of their loved ones, accompanied by personal stories, poems, and reflections. Hand made books are useful in art therapy for sequencing and containing. This process helps them to process grief by visually documenting memories, expressing emotions, and finding a more comfortable position. The therapeutic activity can include selecting meaningful photos, arranging them creatively, and adding artistic elements like drawings or mementos to enhance the narrative and emotional connection.

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The stages of the grieving process were first introduced by Elisabeth Kübler-Ross in her seminal book "On Death and Dying" (1969). Kübler-Ross identified five stages that people typically go through when dealing with grief and loss. These stages are not necessarily experienced in a linear fashion; individuals may move back and forth between stages, skip stages, or experience them in a different order. Photographs in art psychotherapy can be valuable tools in helping the process remain unstuck.

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Digital Art Therapy

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Digital art therapy is not necessarily photo-art-therapy.  While media in photo-art-therapy  involves images taken via a lens, that is photographs, the media in digital art therapy involves digital tools such as tablets, computers, and digital software (e.g., Adobe Photoshop, Procreate) which may not include any image elements created with light.  Techniques of digital art therapy can involve creating digital paintings, drawings, collages, animations, and other forms of digital media. It allows for the integration of multimedia elements such as video and sound.  It offers flexibility in editing and manipulating images, which can be less intimidating for some clients. It also provides opportunities for exploring contemporary forms of expression and can be easily shared and stored. It becomes photo-art-therapy when elements of the image are painted with light through a lens.

 

A photo taken by a phone can be utilized in both digital art therapy and photo art therapy, depending on how it is used in the therapeutic process.  If a photo taken by a phone is used as a primary medium for reflection, discussion, or creative manipulation (such as creating a photo collage or montage), it is photo-art-therapy. It may in addition be digital art therapy if the images are manipulated digitally. The inclusion of lens created image material in art therapy emphasizes the emotional and symbolic content ­­of the images and their connection to the client's experiences and memories. For example, if clients take photos with their phone and then use a digital app to overlay drawings, add effects, or create a composite image that expresses their current emotional state, this is digital art therapy and photo-art-therapy.  In practice, a Venn diagram of the various processes of art therapy, digital art therapy, photo-art-therapy, drama and play will show constantly changing areas of overlap. Postmodern therapy often integrates multiple approaches to suit individual client needs.

 

Ethics in Photo Art Therapy

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It is essential that art therapists follow ethical principles that ensure the safety of both the client and the therapist. In addition to mastering techniques, the relationship between the therapist and the client is crucial for the therapeutic process. In this relationship, we ensure a safe place for the client where they can explore their emotions and thoughts. Furthermore, people come to therapy to find a better position for themselves in life and to feel better. People do not come to therapy to remain in the same situation and unchanged, and here also lies the therapist's responsibility.

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At best, the therapist is familiar only with one part of the client's life and narrative, therefore should approach the client with curiosity, in a non-judgmental manner, listening and asking questions rather than imposing personal opinions on the client. In the end, the client knows more about themselves than the therapist does. We exercise respectful curiosity.

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Wheeler suggests that therapists do not place any client images on the wall or exhibiting them in an exhibition, as these art therapy images are part of the confidential process of therapy. Because photographs may depict in their content actual people or places, this is even more significant.

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Clinical Supervision for a therapist is an essential, interactive, continuous circular process that ensures the safety of both the therapist and the client. Qualified therapists should continue with supervision, which is an ongoing process. Clinical Supervision is a continuous loop of relational reflexivity. Clinical Supervision involves the image, observation of the image, perhaps response images and continues in a reflexive spiral making linear progress while looping between learning, practice and reflection.

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Books and Articles

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Arnheim, R. (1966). Toward a Psychology of Art: Collected Essays. Berkeley: University of California Press.

Barthes, R. (1981) Camera Lucida: Reflections on Photography. New York: Hill and Wang.

Benjamin, W. (1936) The Work of Art in the Age of Mechanical Reproduction. Translated by H. Zohn, 1968. New York: Schocken Books.

Berger, J. (1972) Ways of Seeing. London: British Broadcasting Corporation and Penguin Books.

Berman, J. (1990) Diagramming the Family: An Illustrated Guide to Family Therapy. New York: Brunner/Mazel.

Booth, D. (2001). Coming Into Mind: The Mind-Brain Relationship: A Jungian Clinical Perspective. London: Routledge.

Burnham, J.B. (1986). Family Therapy: First Steps Towards a Systemic Approach. London: Tavistock.

Code, J. (2014) Morphic Resonance and the Evolution of Consciousness. Available at: [URL] (Accessed: 9 June 2024).

Coe, J. (2007). The Rain Before It Falls. London: Viking.

Cozolino, L. (2017). The Neuroscience of Psychotherapy: Healing the Social Brain. 3rd ed. New York: W.W. Norton & Company.

Davies, D. (2010) The Neuroscience of Psychotherapy. 2nd edn. New York: W.W. Norton & Company.

Ehrenzweig, A. (1967). The Hidden Order of Art: A Study in the Psychology of Artistic Imagination. Berkeley: University of California Press.

Ellenberger, H. F. (1970) The Discovery of the Unconscious: The History and Evolution of Dynamic Psychiatry. New York: Basic Books.

Freud, S. (1955) The Standard Edition of the Complete Psychological Works of Sigmund Freud. London: Hogarth Press.

Gardner, H. (1973) The Arts and Human Development: A Psychological Study of the Artistic Process. New York: Basic Books.

Gibson, N. (2004) Therapeutic Photography: A Practical Guide. London: Routledge.

Gombrich, E.H. (1960). Art and Illusion: A Study in the Psychology of Pictorial Representation. Princeton: Princeton University Press.

Gregory, R. L. (1997) The Oxford Companion to the Mind. 2nd edn. Oxford: Oxford University Press.

Huber, L. B. (1992) Photo Art Therapy: A Jungian Perspective. London: Jessica Kingsley Publishers.

Jung, C. G. (1964) Man and His Symbols. New York: Doubleday.

Kübler-Ross, E. (1969) On Death and Dying. New York: Macmillan.

Landscape Photographer of the Year: Collection 16, 2023. London: Ilex Press. Available at: https://www.lpoty.co.uk/book (Accessed: 17 June 2024).

Loewenthal, D. (2023). The Handbook of Phototherapy and Therapeutic Photography: For the Professional and Activist Client. London: Routledge.

Loewenthal, D. (2013). Phototherapy and Therapeutic Photography in a Digital Age. London: Routledge.

MacLagan, D. (2001) Psychotherapy and the Arts. London: Jessica Kingsley Publishers.

Martin, R. (2002) Dress Up and Act: Exploring Identity through Costumes and Photography. London: Routledge.

McLuhan, M. (1964) Understanding Media: The Extensions of Man. New York: McGraw-Hill.

Neuner, F., Schauer, M. and Elbert, T. (2005) Narrative Exposure Therapy (NET): A Short-Term Intervention for Traumatic Stress Disorders. Göttingen: Hogrefe & Huber Publishers.

Peyton, S. (2023). What the heck is Relational Neuroscience?. Available at: Sarah Peyton [Accessed 10 June 2024].

Rogers, C. R. (1961) On Becoming a Person: A Therapist's View of Psychotherapy. Boston: Houghton Mifflin.

Rycroft, C. (1995) A Critical Dictionary of Psychoanalysis. 2nd edn. London: Penguin Books.

Samuels, A., Shorter, B. and Plaut, F. (1986) A Critical Dictionary of Jungian Analysis. London: Routledge.

Schaverien, P. (1999) The Revealing Image: Analytical Art Psychotherapy in Theory and Practice. London: Jessica Kingsley Publishers.

Segal, H. (1988) Introduction to the Work of Melanie Klein. London: Karnac Books.

Solms, M. and Turnbull, O. (2002). The Brain and the Inner World: An Introduction to the Neuroscience of Subjective Experience. New York: Other Press.

Walker, J. (1981) Therapeutic Photography: Facilitating Self-Reflection and Healing through Imagery. New York: Springer Publishing.

Weiser, J. (1999). PhotoTherapy Techniques: Exploring the Secrets of Personal Snapshots and Family Albums. San Francisco: Jossey-Bass.

Wheeler, M. & Smith, R., 2001. Male Therapist countertransference and the importance of family context. In: J. Murphy, ed. Lost for Words: Art Therapy with Young Survivors of Sexual Abuse. Hove: Brunner-Routledge.

Wheeler, M. & Stein, N., 2004. Photo context levels, image in review of Judy Weiser 4 day training in PhotoTherapy Techniques, University of Derby 2004.

Wheeler, M., 2004. Photography, Fantasy and Fine Print Encounters: an exploration of making & viewing. Dissertation. Royal Photographic Society, Bath.

Wheeler, M., 2009. Photo-Psycho-Praxis. European Journal of Psychotherapy, Counselling & Health, 11(1), pp. 63-76.

Wheeler, M., 2011. The Transitional Space in Clients' Pockets: the cellphone camera. In: S. Scoble, ed. The Space Between: The Potential for Change. University of Plymouth Press, pp. 136-146. Available at: http://ecarte.info/ecarte_publication.htm.

Wheeler, M., 2012. Fotos, Fones & Fantasies. In: D. Loewenthal, ed. Phototherapy and Therapeutic Photography in a Digital Age. London: Routledge.

Wheeler, M., 2012. Evolution, Attachment and the Smartphone. PSYforte conference paper. PSYforte Conference, Moscow, May 2012.

Wheeler, M., 2012. The smartphone in the therapy room: The tiny heads of pan-dimensional beings. Context: the magazine of family therapy, April, pp. 41-42.

Wheeler, M., 2012. The session recording: myth, metanarrative or metamorphosis. Context: the magazine of family therapy & systemic practice, August, pp. 31-35. Available at: https://www.academia.edu/6084632/Wheeler_M_2012_The_session_recording_myth_metanarrative_or_metamorphosis_Context_the_magazine_of_family_therapy_and_systemic_practice_August_2012_p31_35 (Accessed: 9 June 2024).

Wheeler, M., 2015. Art Therapy and Encephalitis. In: S. Weston & M. Liebmann, eds. Art Therapy with Neurological Conditions. London: Jessica Kingsley.

Wheeler, M., 2015. Art Therapist Heal Thyself. In: S. Weston & M. Liebmann, eds. Art Therapy with Neurological Conditions. London: Jessica Kingsley.

Wheeler, M., 2020. Beyond Masculine and Feminine: Responding to Real Expressions of Gender Identity and the Effect on our Own Gender Identity in Psychotherapy Practice. In: S. Hogan, ed. Gender and Difference in the Arts Therapies: Inscribed on the Body. London: Routledge.

Wilkinson, M. (2010) Changing Minds in Therapy: Emotion, Attachment, Trauma, and Neurobiology. New York: W.W. Norton & Company.

Wood, C. (2011) Navigating Art Therapy: A Therapist’s Companion. London: Routledge.

LINKS:

https://phototherapy-centre.com/who-is-doing-what-where/

https://www.photographyintherapy.com/en/become-an-expert-2/

www.phototherapy.org.uk

https://www.meer.com/en/25312-perugia-social-photo-fest

https://www.photographyintherapy.com/en/become-an-expert-therapeutic-photo-walk/

https://www.besselvanderkolk.com/

https://www.facebook.com/groups/PhotoTherapy.and.Therapeutic.Photography/?locale=en_GB&paipv=0&eav=AfZEFcZlKAbGfba0J9GbaAK9VxCFxzcT3kepA5_EjlqOGON9HP2EdArJ90AO0LT9g9A&_rdr

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