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.

The most famous entrepreneur of his generation is facing a public reckoning with the power of Big Tech.

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

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.

Exclusive: documents released to Guardian reveal government photographer cropped space ‘where crowd ended’

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 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.

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.”

On Sunday, WPP award-winner Alessio Mamo posted a conceptual portrait series entitled “Dreaming Food” with poverty-stricken children in India posed in front of plastic food.

Jeff Mermelstein’s photographic practice of making presumably private text conversations public by photographing people’s phones while they are texting and then posting the results on Instagram has made a splash recently. Of course the highlight that ran in Business Insider was framed as a question in a PetaPixel article: is Mermelstein’s practice ethically sound?

The pearl bracelet arrived in May 2014, in the spring of Ali Watkins’s senior year in college, a graduation gift from a man many years her senior. It was the sort of bauble that might imply something more deeply felt than friendship — but then again, might not.

Adobe’s software has been widely used for many years now as a tool to create fake photos, but now the company is developing software for the other side: it’s using AI to spot photo manipulations to aid in the war against fake photos.