to be a tourist while looking at statutes. This could also includes manipulating settings in order to observe reactions. Observing and objectifying people by looking covertly from a distance These activities concern individuals who feel that a particular population is being treated in a dispassionate manner or similar to scientists observing natural phenomena in a clinical way. Examples of this would be the exercises which you ask to observe the waiting behaviors of people in public places (either in person from a distance or via webcam). Intimate or detailed observations of personal places or behavior This category refers to a in-depth analysis of intimate, meaningful or personal places activities or spaces, and may include making judgments which could sadden or offend people. An example of this could be coding or commenting on gravestone trends or personal graffiti. Possibility of causing discomfort or concern This is a category, in which the exercise or project may upset some people, or create anxiety or fear (including and potentially, in the researcher). This may happen due to situations which could include wasting people's time or not conforming to societal norms, such as in 'breaching' experiments. The visual offers a range of exciting possibilities for social research but it also brings an array of challenges and ethical difficulties. Visual Ethics can now be regarded as a specialist area within visual methodologies. Much mainstream engagement with the ethics of visual ethnography focuses on issues of anonymity of place and participants so that the focus is on who is taking the picture, who is in the picture; and what else can be known from the geography or materiality of the image. Thus, the moral maze of image ethics has been centrally concerned with the creator of images in relation to informed consent and the tension between revealing and concealing the contents of visual images; and who has ‘the right’ to claim ownership of images to in turn edit their content and show them to others (Mannay 2016).Once a visual image is created it becomes very difficult to control its use or remove it from the public arena if participants decide that they no longer want to be represented in a fixed visual trope for time immemorial. Even if images are successfully anodised, acts to disguise images can be seen as tantamount to silencing the voice of research participants. This is particularly problematic where researchers invest in the