This document summarizes a journalism ethics class. It outlines that the class will review issues in visual journalism, have a discussion with a guest speaker, and remind students that an assignment on advancing a story is due by the end of the day on November 29th. It also provides examples of ways readers can advance news stories and examples of readers doing so. Finally, it lists upcoming assignments, including reading ethics guidelines and a chapter on deception in reporting.

1. JOURNALISM ETHICS & ISSUES
CLASS #22 | JRNL 4650 | FALL 2016
• Instructor: Bill Mitchell
• bmitch (at) gmail (dot) com
• 727-641-9407
• 22 November 2016 | Northeastern Univ.
1

2. WHAT WE’LL DO TODAY
• Review of Foreman Chapter 19: Issues specific to visual
journalism
• Discussion with Cristela Guerra
• Upcoming assignments
• Reminder: Advancing a story assignment due end of day
Tuesday Nov. 29
• After class: Opportunity to discuss Advancing a Story or your
final papers (Deadline extended to end of day Dec. 12)
2

3. SOME WAYS TO ADVANCE A STORY
3
• Correct something (include documentation of the
original error, your efforts to get it corrected – by email,
Twitter, etc. – and what, if anything resulted)
• Suggest a new angle or follow-up in a comment
attached to the article, phone conversation with the
reporter, etc. (include documentation or, in the case of
phone conversation, description of your interaction)

4. SOME WAYS TO ADVANCE A STORY,
CONTINUED
4
• Use the original story as a peg or jumping off point
to write your own story or blog post
• Alert a policy-maker to a story you believe helps
make the case for or against a public policy you’d like
enacted or avoided
• Initiate a conversation on social media or elsewhere
about a story you regard as worthy of further
consideration

5. HOW TO ADVANCE THIS STORY?
5

6. EXAMPLES OF READERS
ADVANCING A STORY
6

7. EXAMPLES OF READERS
ADVANCING A STORY, CONT.
7

8. CHAPTER 19
Ethics Issues
Specific to Visual
Journalism
Following slides from Wiley & Sons Instructor Resources

9. A HISTORY OF DISTORTION
• Photographic distortion may be easier in the
digital age, but it is not a new phenomenon.
• Photography was invented in 1839–40.
• The first instance of distortion – a faked
photograph – appeared in the same period.

10. FIRST KNOWN EXAMPLE
OF A FAKED PHOTO
10From Hoaxes.org

11. TWO WAYS TO DECEIVE
• Stage-managing the scene being
photographed.
• Altering the content or context of an
otherwise authentic photograph.

12. BRIAN WALSKI’S COMPOSITE IMAGE
FROM IRAQ, 2003
12
Photo of Times front page from slate.com

13. 13
Compiled by Bronx Documentary Center

14. STANDARDS FOR STILL
PHOTOS
The consensus standard is a zero tolerance of
digital manipulation in news photographs, no
matter how benign. Here’s why:
• “Zero” is easily understood and inflexible.
• A flexible standard would lead to a slippery
slope.

15. PERMISSIBLE ADJUSTMENTS
• The consensus allows “burning,” “dodging,”
and “toning.”
• The purpose is to help the audience see what
the photographer saw.

16. POSING FOR PHOTOGRAPHS
• Posed photographs are acceptable if the
posing is obvious.
• An example: Photographing an automobile
executive in front of the assembly line.

17. PHOTO ILLUSTRATIONS
• A photo illustration is “a work of fictional
imagery,” often seen in food and fashion
photography.
• It should be self-evident; readers should
know that what they are seeing is not real.
• In journalism, the concept of photo
illustrations remains controversial.

18. “PHOTO ILLUSTRATION”
OF REAGAN’S TEAR
TIME, 2007
18

19. MAGAZINE COVERS
• For their cover photos, magazine art
directors routinely depart from the standards
of documentary photography.
• Are these cover photos journalism, or are
they merely commercial devices?

20. STANDARDS IN NEWS VIDEO
• Don’t add sounds that did not exist in the
original.
• Add music judiciously.
• Be careful about slow motion and other
special effects.

21. POSING IN NEWS VIDEO
Stage-managing standards are looser than in
print. There are three kinds of posing:
• for convenience of editing;
• for convenience of time;
• for convenience of story.

22. OFFENSIVE CONTENT IN
PHOTOS
The audience reacts negatively to:
• graphic violence;
• dead bodies;
• nudity;
• indecent behavior;
• perceived invasion of privacy;
• juveniles performing dangerous acts.

23. 23

24. 24

25. 25

26. FACTORS TO CONSIDER
• The scale of the event. The bigger the event,
the less likely the audience will be offended.
• Who is involved. The audience objects to
perceived embarrassment of ordinary people
thrust into the news, and to graphic photos in
which the person pictured does not survive.

27. REAL-TIME EXPLANATIONS
• Some journalists add to graphic photos an
explanation of why they think the public
should see them.
• Pro: It’s a matter of accountability and
transparency.
• Con: This might suggest, erroneously, that,
where a photo offends and there is no
explanation, the editors didn’t consider the
audience.

28. INTRUSION BY
PHOTOJOURNALISTS
• Because their equipment cannot be hidden
like a reporter’s notebook, photojournalists
often have to justify their presence.
• Sometimes, as in the case of the McAuliffe
memorial services, photojournalists can ruin
an event by their presence.

29. RADIO BOSTON ON THE HBO
MARATHON BOMBING DOCUMENTARY
29
• Discussion of Photographer John Tlumacki at 9.25

30. 30

31. 31

32. 32

33. 33

34. 34

35. 35

36. EXAMPLES OF READERS
ADVANCING A STORY
36

37. EXAMPLES OF READERS
ADVANCING A STORY, CONT.
37

38. UCPOMING ASSIGNMENTS
38
• Nov. 29 Class: Read ethics guidelines of the Center for
Investigative Reporting: http://cironline.org/ethics-guide
• Nov. 29 Class: Read (or re-read) Foreman Chapter 16:
Deception, a Controversial Reporting Tool
• Nov. 29 end of day: Advancing a Story assignment due
• Dec. 1 Class: Familiarize yourself with David Beard’s
Twitter feed & come to class w/ at least 1 question for him
about how he uses the tool & why
• Dec. 6 Class: Prepare a 3 minute summary of your final
paper (due end of day Dec. 12). This presentation will count
toward your class participation points. Details TK