Visceral images from Haley Morris-Cafiero document her response to the negative feedback and online bullying generated by her previous series, Wait Watchers, where Morris-Cafiero captured passerby gawking at her physical appearance. In The Bully Pulpit, she responds to the vitriolic language by researching images of the bully, dressing up like them and incorporating their insults into the picture. By turning a mirror back on the bully as well as creating a physical, real-life response to the insult, she meets the gaze of her attackers by gazing right back. In contrast, Mona Kuhn’s photographs from Native present intimate images of nude subjects that signal safety and security. Working in a naturalist community with less commodification and more acceptance of the human form, Kuhn develops long term and deep relationships with her subjects. Together they work as a team to create the images and in so doing, Kuhn deepens the relationship between subject and photographer extending power outside of its traditional scope.