Debate is growing about ethics as concerns are raised about photographic practices across all kinds of industries, especially in light of the rise of AI-generated imagery.
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Savannah Dodd takes stock of the challenges and opportunities for ethical photographic practice that the growth of generative AI technologies presents.
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A reflection about dignity in dementia care and in photography of ill health. This essay was commissioned by The Lancet and based on Savannah Dodd’s project Thanks, Gd.
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While turning the camera inward may alleviate ethical qualms about positionality, photographing the people closest to us is not without ethical considerations. Seven photographers discuss the ethics of working on stories close to home.
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Over the course of the coronavirus pandemic so far, there have been many questions raised about what it means to visually represent a public health crisis ethically: What kinds of visual stories do we need?
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In their second collaboration, Andrew Jackson and Savannah Dodd discuss the impact of the prioritisation of the white, male gaze, both for photojournalism and broader society.
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Last year, Photography Ethics Centre founder Savannah Dodd delivered a workshop for community youth workers at Greater Shankill Alternatives in Belfast, Northern Ireland, funded by the Rebecca Vassie Trust.
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It is the broader socio-cultural context that shapes how we learn to value different ways of seeing. And it consistently puts white, male ways of seeing right at the top.
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There is a difference between how we photograph people with a handheld camera and how we photograph people with a camera drone when it comes to accountability. Can the same regulations really govern the two?
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The issue of consent is key across the photographic community. But development photography, in particular, presents a unique set of challenges because of the complexity of the subject/photographer relationship.
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Despite the countless benefits that democratisation of photography can bring, we now also live in a world of “fake news”, photo manipulation, and the rampant circulation of images online without consent. How do we engage with this context, both as photographers and consumers?
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The democratisation of photography and its increased use in social research represents an exciting opportunity for conducting and presenting research in new and innovative ways. It also, however, raises challenges.
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