Guest editorial: The visual turn in tourism, hospitality and leisure studies

Abstract

This special issue of the journal Consumer Behavior in Tourism and Hospitality is a collection of 14 contributions addressing visual research themes in tourism, hospitality and leisure. The co-editors aimed at offering a wide range of articles with insightful theoretical, methodological and empirical developments that can be beneficial to scholars in our fields of studies. Indeed, tourism, hospitality and leisure research had long been dominated by number- and text-based approaches, with the recent decades witnessing a clear shift toward visual methodologies, supported by wider developments in the social sciences and humanities (e.g. Banks, 2001; Margolis and Pauwels, 2011; Pink, 2021; Rose, 2022). Given the inherently visual nature of tourism experiences and related representations (Urry and Larsen, 2011), a closer engagement with imagery was needed (Rakić and Chambers, 2012; Matteucci, 2013). This special issue responds to recent calls of tourism scholars to better connect with and through visuals (e.g. Balomenou and Garrod, 2019; Pernecky and Rakić, 2019; Volo and Irimias, 2021; Egger, 2023) and to explore a larger variety of visual methods available.This collection of selected manuscripts underwent a regular double-blind review process and, therefore, could not accommodate all submissions received; nevertheless, we thank all authors who engaged with the call. We are also grateful for the insightful comments of the many reviewers involved in the selection process. The articles encompass a large array of research that exemplifies the current visual turn in tourism, hospitality and leisure research. The following paragraphs provide a summary of the contributions included in the special issue.The paper by Karakawa et al. (2026) explores attributes and perceived value of Japanese Ryokans as new concepts of luxury accommodation looking also into hot spring facilities associated with wellness and spa tourism. This paper advances our understanding of international expansion of these tourist experiences and the importance of visual elements for customer engagement and purchase intention.The research note by Erikson (2026) offers insight into the complex interactions between researchers and research participants from the perspective of qualitative visual methods and ethical dilemmas. The author uses fieldwork and interviews from a study of nature-based events in Sweden to draw attention to authoritarian classifications of what is visualized and to explore methodological implications of transferring power to research participants. The discussion and implications are based on the concept of “visuality” and “the right to look” as introduced by Mirzoeff (2006, 2011).Another study that relates to events is that of Aguilar et al. (2026). In their work, the authors use the qualitative approach of autophotography to develop knowledge on the role of self-expansion behavior in cultural event experiences using K-pop (Korean Pop Music) as a case. With this renewed lens, the interplay between personal fulfillment, shared emotional connection and collective identity formation, is highlighted. To guide future research, the combination of different visual ethnographic techniques is also described.A third paper in the special issue that relates to events is that of Grabher (2026). The study is based on the Salzkammergut region as European Capital of Culture in 2024 and focuses on the event-based regeneration process for future development of the region. Through vox-pop interviews verbal descriptions of postcard images capture reflections and imaginations of potential futures. The author discusses methodological considerations in light of visual methods, such as the situatedness of the postcard and verbal depictions of imaginaries.Invisible aspects of slum tourism content published by influencers, is investigated in the Fernandes’ (2026) paper. With this study, based on a qualitative analysis of the most-watched slum tourism influencers’ content in Brazilian favelas, readers will gain increased understanding of the intricate relationship between what may drive viewership and what are the visual focal points. The tension between the visible and the invisible as seen from textual and visual components is highlighted in the discussion.In their netnographic study of travel vloggers, using Pakistan as a case study, Sattar and Sfodera (2026) present new knowledge on image formation process theory offering insights on the role of digital influencers. The study is based on changing media dynamics and the growth of online travel vlogs such as those on Youtube. In the paper, authors demonstrate how travel vlogs shape destination images and discuss the role of travel vloggers in the image formation process.Nelsons’ (2026) paper addresses the need to recognize how neolocalism is used in visual social media marketing for craft breweries. Instagram images are used for a content-semiotic analysis and an examination of these visuals for elements related to product, branding, local embeddedness and place-based experiences. Reflections on the ways visual social media marketing can enhance the appeal are presented.In the contribution by Muhs et al. (2026), new insights on Vanlife are introduced based on a netnographic study of visual imagery and storytelling from both visual and textual content on social media platforms. The Vanlife phenomenon that is typically symbolized by the travel adventures of millennials is also closely linked to the photographic-centered social media of Instagram. Prevalent themes of this hyper-mobile travel style are examined, and the study expands prior studies with visual analysis.The study by Blanco-Moreno et al. (2026), deals with destination image and Instagram content. The authors use artificial intelligence techniques as a quantitative approach to uncover and compare the impact of Instagram content by residents, tourists and influencers on destination image. Results of the study advance research and knowledge on the role of Instagram for destination image formation.With the topic of volunteer tourism, the paper by Salvador-Almela et al. (2026) offers another example of research using Instagram content as a visual data source. By identifying key actors projecting images of volunteer tourism and the connotative meanings of this, the paper offers a comprehensive understanding of contributions to representation of volunteer tourism online. Based on a qualitative study with content and semiotic analysis, a framework for critical reading of the projected image of volunteer tourism through social media is proposed.The paper by Michalkó et al. (2026), also uses data retrieved from Instagram in the form of reels and text. The study aims to expand on the research about third places and “good places” in the realm of tourism, advancing knowledge on how tourists engage with spaces that are active social nodes within the local community. Based on qualitative and quantitative methodology and with a meta-data analysis, the authors offer insights into Instagram travel content labeled as good places.Ferreira’s (2026) paper deals with collaborative video. A methodology for democratic engagement with and empowerment of traditionally underserved communities in tourism research. This conceptual paper is based on Haw and Hadfield’s video modalities from the Fork-to-Farmer docu-series addressing an unbalanced power dynamic between farmers and chefs to achieve psychopolitical validity.Experimental collaborative filmmaking articulating organizational vulnerabilities of Mexican women in tourism is the topic in the paper by Gaggiotti et al. (2026). Through a reliance on the Web page Transforming Voices, the authors co-produce and disseminate experimental short films. The implementation of the methodology results in decentered, affective artworks which aesthetically amplify, expand on, complicate and represent research participants’ testimonies.The conceptual paper by Rakić et al. (2026), aims to inspire further advancement of the visual turn in tourism, hospitality and leisure research. The authors provide an overview of the different philosophical positions for visual data and synthesize literature across disciplines. The roles of both big and small data as well as diversity of approaches are discussed as key directions for the future.As the visual turn continues to reshape tourism, hospitality and leisure, it challenges destinations, tourists and publics to further question constructed and consumed visual identities. Overall, the papers in this special issue highlight the importance of visuals in tourism research and suggest the need for engaging with a variety of data and methods exploring their inherent richness. We hope these contributions have helped establish visual inquiry as an even more legitimate field. The Editor-in-Chief wishes to thank her co-guest editors, Tijana Rakić and Maria Lexhagen for their dedication in contributing to the journal with this rich set of works. The task of fostering a more critical, responsible and comprehensive dialogue with the visuals remains now with our readers!