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MY TEACHING JOURNEY MY THERAPY JOURNEY

Research in Counselling & Psychotherapy – preparing the ground

The nature of counselling training in the UK

Counselling training in the UK spans from FHEQ Level 1 (basic listening and conversational skills) to Level 8 (PhD, DPhil, and Professional Doctorate). Level 3 is the equivalent intellectual standard expected of an A-Level pass, and Level 4 is the equivalent intellectual standard expected of a first year university undergraduate.

To qualify to practice through the main accreditation bodies (the BACP, the NCPS, and UKCP) an individual should have a diploma in counselling which calls for a certain number of hours of study at Level 3 and a certain number at Level 4.

While there are many options for post-diploma study, particularly to taught Masters level, I believe that the vast majority of practitioners today will have obtained their Level 4 qualification and stopped formal counselling education at this stage.

Why is research so important to the counselling and psychotherapy profession?

Counselling and psychotherapy must sustain active research because without it the profession risks ‘drift’, dogma, and loss of public trust. These have all been evident in the past and continue to dog the profession.

Research today typically tests claims about effectiveness, clarifies which clients benefit from which forms of help, and identifies risk, dropout, and harm.

Outcome and process research, including the work synthesised by Lambert and Wampold, shows that the quality of the alliance, therapist factors, and context each impacts results so strongly as to challenge any narrow allegiance to a particular model.

Research activity therefore protects clients by grounding practice in transparent evidence rather than tradition or charisma. It also enables the profession to engage with regulators, commissioners, and the wider health system on equal terms, since policy and funding decisions increasingly depend on demonstrable impact.

Without a living research culture, counselling and psychotherapy would hand its authority to neighbouring disciplines and weaken its claim to offer safe, effective, and accountable care.

The different expectations of research literacy at each FHEQ level

The Framework for Higher Education Qualifications (FHEQ) sets level descriptors for knowledge, skills, and autonomy across UK higher education. Research literacy develops across these levels in scope, depth, and independence. What follows sketches typical expectations from Level 3 to Level 8, with reference to the Quality Assurance Agency for Higher Education level descriptors.

At Level 3, often Foundation Year, students begin to recognise research as structured inquiry. They can describe basic research terms such as method, sample, and data. They read short academic texts with guidance and identify the main aim of a study. They rely heavily on tutor support and follow clear templates. Critical judgement remains limited.

At Level 4, first year undergraduate, students develop basic research literacy. They can distinguish qualitative and quantitative approaches. They summarise a research article and identify strengths and limits in simple terms. They begin to use referencing systems accurately. They can design a small proposal with close supervision. Independence remains modest.

At Level 5, second year undergraduate, expectations deepen. Students compare methods and justify choices. They engage with reliability, validity, and reflexivity in more detail. They critique sampling and ethics with growing confidence. They handle basic data analysis, whether statistical or thematic, with structured guidance. They show clearer academic voice.

At Level 6, honours degree, students demonstrate sustained critical analysis. They design and complete an independent research project within ethical guidelines. They justify methodology with reference to theory. They interpret findings in relation to existing literature. They manage data, referencing, and academic writing with limited supervision. Originality appears within defined limits.

At Level 7, master’s level, research literacy becomes advanced and systematic. Students appraise complex research designs and theoretical debates. They synthesise literature across fields. Master’s degrees take two forms – taught or by research. The distinction is not absolute but more by proportion of effort. Most taught Master’s courses include a ‘final major project’ taking up a substantial proportion of the second half of the student’s formally accounted hours. Masters by Research students conduct more substantial independent research with methodological coherence. They will usually defend their epistemological stance and demonstrate reflexivity. Their work may approach publishable quality.

At Level 8, doctoral level, expectations shift fully from literacy to contribution. Candidates generate original knowledge through rigorous inquiry. They have a command of advanced methods and theory. They critique the field and shape debate. They manage large or complex data sets and respond to peer scrutiny. Research literacy here includes leadership in scholarly dialogue.

Across Levels 3 to 8, three themes evolve. First, criticality grows from description to sustained evaluation. Second, independence increases from scaffolded tasks to autonomous design. Third, contribution shifts from understanding existing knowledge to extending it.

For lecturers, the key lies in aligning their teaching and assessment with these developmental shifts. Research literacy does not emerge in a single leap. It develops through staged engagement with knowledge, method, critique, and professional judgement.

How do the research literacy expectations vary across the groups of modalities of counselling theory?

Research teaching needs to reflect the epistemology, change theory, and evidential traditions of each modality. If lecturers ignore these differences, students are more likely to experience research as alien or hostile to their clinical identity.

Psychodynamic and psychoanalytic approaches stem from the work of Sigmund Freud and later object relations and attachment theorists. Their research base often includes case studies, longitudinal observation, and process research. Teaching here should therefore emphasise depth over breadth. Students benefit from close reading of single-case designs, qualitative interviews, and process notes. Lecturers need to teach how to evaluate narrative data, countertransference accounts, and small-sample studies without dismissing them for lacking randomised trials. The concept of evidence needs to include theoretical coherence and clinical plausibility.

Humanistic and existential approaches, shaped in part by Carl Rogers, put lived experience and relational process in the foreground. Research teaching therefore centres on qualitative methods, phenomenology, and reflexivity. Students learn how to analyse interviews, understand thematic analysis, and critique claims about empathy and alliance. At the same time, lecturers have to show how outcome research evaluates relational variables, so that humanistic students do not reject quantitative evidence by default.

Cognitive and behavioural approaches, developed by figures such as Aaron T. Beck, possess a strong experimental tradition. Teaching in this cluster includes research design, control groups, measurement, and statistical reasoning. Students are expected to understand internal validity, effect size, and manualised treatment trials. However, lecturers also need to address critiques of over-reliance on symptom scales and short-term outcomes, so that students grasp the limits of their approaches as well as their strengths.

Systemic and family therapies rest on relational and contextual models. Research teaching will therefore explore circular causality, observational coding systems, and multi-person data. Students need to examine how family research handles complexity and how systemic ideas translate into measurable constructs. Mixed methods often suit this grouping.

Integrative and pluralistic approaches involve a different emphasis. Here lecturers need to teach comparative research literacy. Students must be able to read across traditions, evaluate meta-analyses, and understand common factors research. Teaching will stress synthesis and critical comparison rather than loyalty to a single method.

Across all groupings, three pedagogic differences emerge. First, the weighting of qualitative and quantitative evidence. Second, the philosophical framing of knowledge varies. Third, the emotional tone of research teaching differs, because students’ professional identity shapes their openness to method.

Effective research education does not dilute challenges to the rigour of a model simply to suit the allegiance of practitioners to their ‘model’. Instead, it puts evidence into a language that is congruent with each tradition, while still exposing students to the full range of methodological standards expected in contemporary practice.

My concerns at present

Many students who complete a Level 4 diploma and enter private practice show limited exposure to research and a weak grasp of its value. Training often treats research as a separate academic task rather than part of reflective practice. The way in which the BACP separates research from practice makes sense in terms of establishing professional credibility, however this risks leaving individual practitioner’s engagement with research to a matter of personal choice rather than professional necessity.

From the few conversations that I have been party to, the focus of the BACP Research Teaching network so far tends to sit at Level 5/6 and above, which leaves the more predominant earlier stages less examined.

As a result, new practitioners may struggle to engage with evidence, question claims, or place their work within wider professional knowledge. The concern is not that they must become researchers, but that they leave training without habits of inquiry that support safe, reflective, and evidence-informed practice.

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MY PHOTO JOURNEY PURE BLOG Sophistication (Mastery)

Research in Photography

Photographers often speak of “research” before they begin a project, yet the term covers several distinct forms of enquiry. Some research prepares the photographer for a specific assignment. Other forms build knowledge that shapes practice across many projects. In recent years a further strand has emerged in which photographic practice itself becomes the site of research. A clear account of these distinctions helps explain how photographers generate knowledge and develop informed visual work.

Contextual or project-specific research

One important form of research resembles the literature review familiar in the social sciences and humanities. Photographers preparing a documentary or investigative project often begin by studying the context of the subject. This includes reading historical accounts, examining policy reports or journalism, and reviewing earlier photographic work on the topic. The aim lies in understanding how the subject has already been represented and what assumptions or stereotypes may circulate in public discourse. In this sense the photographer studies the existing visual and cultural conversation surrounding the subject.

This form of enquiry may be described as contextual or project-specific research. It helps the photographer identify gaps in representation, clarify the ethical stance of the work, and avoid repeating established visual clichés. Documentary photographers have long drawn on such research. For example, projects that address housing, migration, rural change, or industrial decline often require familiarity with social history and political context before meaningful images can be made responsibly. Scholars of photography note that documentary work gains depth when it engages critically with earlier representations and with the social structures that shape the subject being photographed (Wells, 2015). Contextual research therefore functions as an intellectual preparation for the project.

Foundational research or domain knowledge

A second broad form of research concerns knowledge that is not tied to a single assignment but informs photographic practice in general. This type of enquiry may be described as foundational research or domain knowledge. It expands the photographer’s understanding of how images function within perception, culture, and communication. Photographers who study visual perception, art history, narrative structure, or semiotics build knowledge that may influence many different projects over time.

Research into visual perception provides a clear example. Psychologists and neuroscientists examine how the human visual system responds to contrast, colour, depth cues, and patterns of attention. Such research helps explain how viewers scan images and recognise salient features within a scene (Palmer, 1999). Although this knowledge does not relate to a specific subject, it informs compositional decisions across a wide range of photographic situations. In a similar way, knowledge of photographic history and visual culture helps practitioners understand how audiences interpret certain motifs, genres, or narrative conventions.

In contemporary photographic practice a number of foundational topics have attracted strong interest. Artificial intelligence and generative imagery now raise questions about authorship, authenticity, and the definition of a photograph. Research on misinformation and synthetic imagery examines how audiences judge the truth claims of images in an era of algorithmic manipulation. Environmental photography has also become a major field of study, with scholars analysing how visual strategies communicate climate change, biodiversity loss, and environmental risk. Other current areas include the ethics of representation, the influence of social media platforms on visual culture, and the role of photographic archives in shaping collective memory. These topics do not serve one project alone. Instead they enlarge the intellectual framework within which photographers work.

Practice-led Research

Alongside contextual and foundational research, a third category has gained prominence within universities and art schools. This is practice-led research, in which creative activity itself becomes a method of enquiry. In this approach the photographer does not simply produce images as an outcome. The act of making, reflecting, and revising images forms part of a systematic investigation into photographic practice. Practice-led research has become especially visible within doctoral programmes in the creative arts, where practitioners analyse their own processes in order to generate knowledge about creative work (Candy & Edmonds, 2018).

Reflective practice research

One widely used form of practice-led enquiry is reflective practice research. In this method the photographer records decisions, problems, and insights that arise during the creative process. Journals, field notes, or annotated image sequences capture how ideas evolve over time. Analysis of these records reveals forms of tacit knowledge that guide expert practitioners but often remain unspoken. Donald Schön described such knowledge as reflection in action, a form of thinking that occurs during professional practice rather than after it (Schön, 1983). Reflective photographic research therefore seeks to make this practical knowledge visible and shareable.

Action research

A related approach is action research, which involves repeated cycles of planning, action, observation, and reflection. Photographers often adopt this method in community or participatory projects. The practitioner introduces a new photographic activity, observes its effects within a group or community, reflects on the outcome, and then refines the approach in further cycles. Action research therefore aims to improve practice while also producing knowledge about how photographic methods operate in social settings (Reason & Bradbury, 2008).

Participatory photographic research

Another important practice-led approach is participatory photographic research. In such projects the photographer works with participants who also create images or shape the direction of the project. Methods such as photovoice invite participants to photograph aspects of their own lives and discuss the meanings of the images in group settings. The research therefore studies both the images and the dialogue that emerges around them. Participatory photography has become widely used in health research, community development, and social justice projects because it allows people to represent their own experiences through visual means (Wang & Burris, 1997).

Experimental photographic processes

A further strand within practice-led research focuses on experimental photographic processes. Here the practitioner systematically varies aspects of technique or presentation in order to explore how these changes influence meaning or perception. For example, a photographer may experiment with sequencing, printing processes, or exhibition formats to test how narrative structure alters audience interpretation. Although this research often produces artistic outcomes, the underlying aim lies in understanding the relationship between photographic form and viewer response.

Auto-ethnographic research

Among the most visible recent developments in practice-led research is the rise of auto-ethnographic photography. Auto-ethnography originates in anthropology and sociology as a method in which researchers analyse their own experiences in order to illuminate wider cultural patterns (Ellis, Adams, & Bochner, 2011). Within photographic research the practitioner studies their own process of image-making, emotional responses, and social position. A photographer might examine how personal history shapes representation of a place, or how long-term photographic engagement alters one’s relationship with a community.

Auto-ethnography occupies a distinctive position among the forms of research discussed here. It does not simply prepare the photographer for a project, nor does it only build general theoretical knowledge. Instead it treats the photographer’s own practice as a field site. Personal experience becomes a source of empirical data that can reveal broader insights about visual culture, identity, and creative labour. In this way auto-ethnographic work bridges personal reflection and cultural analysis.

Consolidation

Taken together, these forms of enquiry reveal that photographic research operates at several levels. Project-specific research prepares the photographer to address a particular subject with historical awareness and ethical sensitivity. Foundational research expands knowledge about perception, visual culture, and the social role of images. Practice-led research examines the creative process itself in order to generate knowledge about photographic practice.

The three forms often interact within a single body of work. A documentary photographer may begin with contextual research into a social issue. They may also draw on broader knowledge about visual perception or environmental communication. During the project they may keep reflective notes or analyse their own creative decisions as part of a practice-led enquiry. The resulting work therefore combines contextual understanding, theoretical insight, and experiential knowledge gained through practice.

Recognising these distinctions helps clarify the intellectual status of photography within contemporary culture. Photography does not rely solely on technical skill or intuitive creativity. It also draws on forms of enquiry that resemble those found in the social sciences, humanities, and design research. Photographers read, observe, experiment, and reflect in order to understand both their subjects and their own methods of representation.

For professional photographers this broader view of research offers practical benefits. Contextual research sharpens the ethical and narrative foundation of documentary work. Foundational research deepens understanding of how images communicate within society and perception. Practice-led enquiry helps practitioners articulate the tacit knowledge that guides creative decisions. Together these approaches expand photography from a craft of image production into a reflective discipline that generates knowledge about visual culture and human experience.

References

Candy, L., & Edmonds, E. (2018). Practice-based research in the creative arts: Foundations and futures. Leonardo, 51(1), 63–69. https://doi.org/10.1162/LEON_a_01471

Ellis, C., Adams, T. E., & Bochner, A. P. (2011). Autoethnography: An overview. Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, 12(1). https://doi.org/10.17169/fqs-12.1.1589

Palmer, S. E. (1999). Vision science: Photons to phenomenology. MIT Press.

Reason, P., & Bradbury, H. (2008). The Sage handbook of action research (2nd ed.). Sage.

Schön, D. A. (1983). The reflective practitioner: How professionals think in action. Basic Books.

Wang, C., & Burris, M. A. (1997). Photovoice: Concept, methodology, and use for participatory needs assessment. Health Education & Behavior, 24(3), 369–387. https://doi.org/10.1177/109019819702400309

Wells, L. (2015). Photography: A critical introduction (5th ed.). Routledge.