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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This week, we have launched a brand new online training course designed specifically for photojournalists and documentary photographers.
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In light of COVID-19, all of our upcoming events for the next few months have been cancelled. But there are many ways that you can still continue to engage with the Photography Ethics Centre while social distancing! Here are 5 great ways to connect with us online.
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In this article, Photography Ethics Centre founder Savannah Dodd is interview by The Politics of Representation Collective at Cambridge University to discuss the role of photo ethics in academic research contexts.
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A look at Soham Gupta’s Angst as a symptom of a larger ongoing system of questionable practices of representation.
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In this article we tackle some of the challenges of informed consent in development contexts.
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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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If we are going to use their picture, we must do the work that it takes to give them dignity in that process.
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The Ethical Image Conference took place on 6 October 2018 at The University of Hong Kong
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One of the most written about controversies of 2018 was Dreaming Food by Alessio Mamo. Here is a break down of the key points.
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It would be seen as bizarre on a Greek or Spanish holiday.
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In the Radi-Aid Research study, participants in six Sub-Saharan African countries spoke about their perceptions of aid campaigns and other visual communications from international NGOs (INGOs) and development organisations.
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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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