My eyes are filled with tears, because of the smoke. The plastic-particles in the air are itching in my lungs. I am climbing this mountain with my two friends. The ground under my shoes feels funny. It softly cushions my steps, like fresh and loose soil, but I also tangle my feet every now and then. It is an awkward mass, this mountain of pressed trash. It consists of very different material and yet is an entity. A mountain of poison. Not only for the body, but also for the soul. And everywhere pigs! I think I have never seen so many pigs walking freely in the wild. Is that appropriate husbandry? I somehow start to understand, why some religions do resist to eat pork. If, by eating pigs, I eat what pigs ate, then abandoning might be a better choice.

Inspired by the #MeToo movement, Nobuyoshi Araki’s long-time model KaoRi has publicly accused the renowned Japanese photographer of misleading her into working without a contract, distributing pictures of her around the world without her knowledge or consent, and failing to compensate her fairly for her time or for her her role in Araki’s work.

Verified accounts turning themselves into bots, millions of fake likes and comments, a dirty world of engagement trading inside Telegram groups. Welcome to the secret underbelly of Instagram.

NPPA joined a chorus of critics, including the Society of Professional Journalists and the National Association of Black Journalists, who raised concerns about Sinclair’s “news promotion.”

Renowned photographer Nicholas Nixon has abruptly retired from his position as a professor at the Massachusetts College of Art and Design (MassArt) following allegations from multiple students that his behavior crossed the line from provocative art to inappropriate sexual harassment.

The stakes are high: We now experience fake photos daily. Mostly in the form of politically motivated memes, which have damaging long-lasting effects on the opinions of unsuspecting voters. Insurance companies, who rely increasingly on visuals to process claims, lose $40 Billion a year on frauds. Ebay and other “items for sales” apps repeatedly suffer from false advertising. Dating apps used malignantly with fabricated or stolen profile pics. The list goes on. The current lack of ethics is profoundly eroding our trust in photography. It is up to technology to restore it.

National Geographic made ripples today by acknowledging that the famous yellow-bordered magazine spent decades of its history publishing photographs and stories that were racist.

As Oskouei completed his film and entered it into international festivals, Souri wrapped his photo essay Waiting Girls (Persian: دختران انتظار), a series of black and white images from the correctional facility. In all international publications and contests, Souri’s photo series has a more provocative title, Waiting for Capital Punishment. Souri never informed the director nor asked for his permission to publish his pictures.

Prime, the cooperative photo agency, announced this week that it has dropped Christian Rodriguez from its roster in October 2017 after an unnamed female photographer reported he had tried to pressure her into posing nude. In an article posted March 7 on the website Medium.com, members of the collective noted that they had voted to remove him in November; his work was taken off the collective’s website. Since then, other women shared similar complaints about Rodriguez. “To date, approximately 32 women have come forward to share their stories,” the article states. Prime states that some incidents occurred within recent weeks, others took place years ago.

Do Frayer’s images pop? Yes, they do – especially when compared to Nachtwey’s. But does the retouching style support or detract from the content of the photos? And more importantly, does it matter? I would suggest that if any material percentage of the public believes that the scene has been staged, then insofar as photojournalism is concerned, there is a problem. But in today’s world where punchy Instagram-style images have influenced a news-weary public’s perception of photography, perhaps the discussion is moot.

The year long world tour of photojournalist Hossein Fatemi’s controversial Iranian photos is coming to an end.

Fundamental questions remain: What is the line between informing audiences and exploiting victims and their families? Should the media find a balance between shocking and shielding audiences? And when it comes to mass shootings – and gun violence more broadly – if outlets did include more bloody images, would it even make a difference?

The “common sense” position rejects publication of death photos out of respect for the victim and their families, but the truth is that the media has had an uncomfortable relationship with images of violence, murder and death almost since the inception of photography.