There is an increase in extreme weather conditions due to human-induced climate change. Their impacts are most severely felt by the marginalized and the poor in the Global South. Increasingly, study of international relations focuses on the varied forms of disasters and the global politics that emerge around them. Disaster studies scholarship actively challenges the myth of existence of “natural disasters.” Instead of defining them as being “natural,” disasters are conceived as serious disruptions to the functioning of a community or a society with human, material, economic, or environmental losses. The disaster concept is thus separated, first, from hazards such as earthquakes, cyclones, and floods, and “disaters” are not limited to events resulting from natural hazards. Disasters emerge also as a result of major economic and political instabilities due to the nature of the contemporary global political economy and global financial crises. Disasters also include those that often go unnoticed such as violent conflicts or famines, and also include global pandemics such as Ebola and COVID-19. Disasters understood in this way also include aftermaths of resource extractivism and settler coloniality. The intersection of disasters and visual methodologies offers insights into theorizing International Relations nature, the everyday, and the politics of disasters. This article focuses on such visual and audiovisual scholarship that has predominantly emerged from, and actively engages with, collaborative visual methodologies and a rethinking of research processes. Such works offer insights into critical exploration of academic knowledge production processes and praxis, suggesting that visual is not a method, but a methodological and ethical choice. Research processes adopting photo-elicitation, graphic novels and comics, and films in specific disaster contexts challenge text-dominated scholarship and offer reflection on the roles between the researcher and researched, and on the question of authorship. Turning to visuals also brings to the fore questions of representations and the strategic use of the visual in the overall scholarly storytelling practice. Further, scholars have suggested that instead of focusing on the visual devices, or the visual products, visual methodologies as a process orientation allow questions related to democratizing and accessibility to the research process to be addressed, weighing up whose priorities matter, that is, making research useful for (Indigenous) communities and resisting legacies of the imperial shutter.