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Debunking the Myths of Robert Capa on D-Day

Our project, in a nutshell, dismantles the 74-year-old myth of Robert Capa’s actions on D-Day, June 6, 1944, and the subsequent fate of his negatives. If you have even a passing familiarity with the history of photojournalism, or simply an awareness of twentieth-century cultural history on both sides of the Atlantic, you’ve surely heard the story; it’s been repeated hundreds, possibly thousands of times:

Award-Winning Photographer Lisa Saad Accused of Stealing Photos

Lisa Saad is considered one of Australia’s top photographers and has won numerous prestigious photo contests both in her country and internationally. But Saad has now come under fire with serious accusations of stealing other people’s photos without credit for her prize-winning photos.

The Civil Rights Movement Photographer Who Was Also an F.B.I. Informant – The New York Times

Which made it all the more astounding when, a few years after his death in 2007, the truth came out. Starting in the early 1960s, Withers had spent nearly two decades as a paid informant of the F.B.I., feeding its agents information about the activists he photographed. He not only informed; he took requests. At one anti-Vietnam War march, he was asked to photograph all of the 30-odd protesters, taking special care to catch all their faces, and he turned 80 8-by-10 prints over to his F.B.I. contact. On occasion, he sold his work to a local paper, then gave copies to the bureau. His daughter Rosalind, the youngest of his nine children and the one who handles his estate, was blindsided when the news came out via a series of FOIA requests and legal fights undertaken by Marc Perrusquia, a reporter from The Commercial Appeal in Memphis. Perrusquia wrote about Withers and the revelation of his intelligence work in his own book, “A Spy in Canaan,” which was published last year. It’s a smart journalist’s book, crisply marching through Withers’s F.B.I. records and the paper’s battle to pry them out of the government’s grip.

The New York Times’ Photographic Double Standard – PhotoShelter Blog

In covering the terrorist attack on a Nairobi hotel that killed at least 21 people by Shahab extremists, The New York Times decided to publish an image of a bullet-riddled body taken by Khalil Senosi. Photo Twitter was outraged, and Poynter wrote about the “hard choice” the NYT made regarding the selection.

Rethinking the ethical judgement of photography – Witness

When it comes to photography, however, especially other people’s photography, the challenges of acting ethically are sometimes obscured by the rush to ethical judgment. Our ethical standards are raised to standards that the great martyrs, saints, and philanthropists of times gone by would struggle to meet. One reason for this is it’s easy to do. There is no personal cost.

Defending ‘Needles in the Sewer’ and Photographing the Disadvantaged

I will usually disagree quite strongly with anyone who argues that consent is necessary for street photography in public. The law in the UK and many other countries defends photographers and photojournalists when it comes to candid photography in public spaces. Often “permission” will destroy the integrity of a true photojournalistic-scene.

On Photo Contest Controversy & Criticism – PhotoShelter Blog

When money and prestige is on the line, some photographers will find a way to cheat, steal and lie to win. Photo contests have unfortunately been plagued with scandals ranging from image manipulations to questions about authenticity and ethics in dealing with a subject.

That Iconic ‘Migrant Mother’ Photo Was ‘Photoshopped’

“Migrant Mother” by photographer Dorothea Lange is an iconic image of the Great Depression and one of the most famous photos in US history. But did you know that the photo was “Photoshopped”?

The Future of AI Imaging – Artsy

Sometime in the not-too-distant future, anyone will be able to take a picture without a camera. Instead, we will be able to generate photographs, indistinguishable from those made by a camera, using artificial intelligence (AI) software. You will be able to create an image by simply typing out a description of the scene, or describing it to (presumably) Siri. “Siri,” you’ll say. “I’d like an image of a red-haired woman walking through a park in autumn, the breeze blowing red, orange, and yellow leaves around her.” And—though it may require more detail than that—presto! Your phone will provide various options on the screen to choose from.

Photographing Past Stereotype – The New York Times

In 2015, the Spanish-Belgian photographer Cristina De Middel posed herself an obvious but underasked question. In most photographic projects about sex work, it is the faces and bodies of women we see: their strength, weakness, courage and suffering. Where are the men? De Middel wanted to interview men who had paid for sex and photograph them in the kinds of hotel rooms to which they would take female sex workers. So she put an ad in Extra and O Dia, two local newspapers in Rio de Janeiro. She was astonished by the volume of response: More than 100 men showed interest.

Photographer Antonin Kratochvil resigns from VII photo agency amid harassment allegations – Vox

Amid sexual harassment allegations, a legendary photographer just resigned from a prestigious — and troubled — agency. But the industry’s reckoning is woefully incomplete.

Kratochvil Resigns from VII over Sexual Assault Allegations | PDNPulse

Photojournalist Antonin Kratochvil has resigned from VII, weeks after a July 16 article in Columbia Journalism Review reported that he sexually assaulted one female member of the agency and was abusive to others. The agency announced the resignation on its website September 3 without offering any details.

In Nia Wilson murder, an urgent social media lesson – Columbia Journalism Review

DAYS AFTER NIA WILSON, age 18, was murdered at the MacArthur BART stop in Oakland, protesters marched to the offices of KTVU, the Bay Area’s local FOX affiliate. The group sought retribution for an editorial decision made in KVTU’s coverage: in a segment that aired a day after Wilson’s death, an image pulled from her Facebook account showed her holding what appeared to be—but likely wasn’t—a gun. “I immediately felt there was something wrong,” Richard Koci Hernandez, a longtime Oakland resident and an associate professor at UC Berkeley’s School of Journalism, says of the report. “But it’s not a new phenomenon, if you’re paying attention to images.”

When We See Photographs of Some Dead Bodies and Not Others – The New York Times

When it’s common practice to publish photographs of war casualties from other countries but not to publish photographs of war casualties from the United States, then the very fact of visual access to the dead marks them as “other.” Likewise, if the refusal to publish images of dead American service members is a sign of respect, then the willingness to publish photographs of other people’s dead bodies can be read as a sign of disrespect. Publishing some images while suppressing others sends the message that the visible bodies are somehow less consequential than the bodies granted the privilege of privacy. Whenever I see a photograph of a dead body in the media, I take a screenshot of the image. It’s my informal attempt to keep track of whose bodies are shown and whose are hidden. For years, among the hundreds of images I saved, none showed an American soldier. My screenshots also didn’t show bodies belonging to American civilians. But then, in 2014, Michael Brown was killed in Ferguson, Mo., by Officer Darren Wilson, and a photograph of Brown’s body appeared on the front page of The New York Times.

Eddie Adams Workshop Announces New Sexual Harassment Reporting Policy | PDNPulse

The organizers of the Eddie Adams Workshop (EAW) today announced they will work with anti-harassment experts and others to institute more safeguards against sexual harassment, create new procedures for handling reports of harassment, and do more to raise awareness about the EAW’s “zero-tolerance policy” for sexual misconduct. EAW’s announcement, posted today on the EAW website and emailed to EAW faculty and advisors, comes a week after Columbia Journalism Review reported that six past EAW attendees had witnessed or experienced “inappropriate behavior from photographers and editors participating in the workshop as instructors.”

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