- Digital photo manipulation is increasingly controversial as technology advances make it easy to alter images in ways that change their meaning. Even minor edits can damage the credibility of photojournalism if they are not clearly disclosed.
- An incident in 2006 demonstrated this when a photographer digitally enhanced photos of an air strike in a way that changed the meaning and message of the images. Such deception violates journalism ethics.
- While some minor edits like cropping or adjustments to exposure may be acceptable if the overall meaning is unchanged, distorting or manipulating aspects of photos in ways that alter their factual accuracy is considered unethical, as it damages public trust in journalism. Accuracy and transparency are paramount.
All I Needed to Know About Photojournalism Ethics, I Learned in KindergartenBradley Wilson
Images from the Boston Marathon fueled an ongoing debate among professionals about the publication of graphic images and whether or not it is acceptable to alter spot news images digitally. While photojournalists have been having similar discussions since the dawn of the profession and the publication of graphic images from the Civil War and World War II, professionals and non-photojournalists responding to a 36-question survey after the Boston Marathon agreed that publication of graphic, spot-news images was acceptable as a reflection of what happened at a major news event. Photojournalists and non-photojournalists also agreed that manipulation was generally acceptable in photo illustrations but not at all acceptable in hard news images establishing some boundary on when digital manipulation can be used in a photojournalistic setting. Nearly 100 percent agreed that “The highest and strictest standards should be applied to hard-news photographs.” In regard to the manipulation of specific spot news images, however, professionals and non-photographers disagreed with non-photographers, with non-photographers accepting the blurring of the face of a victim of the bombing and the digital removal of broken bones in a New York Daily News image. To provide guidance in such circumstances, only 40 percent of professionals had any written policy regarding digital ethical conduct. While establishing a written code of ethics may prove helpful, in this age of instantaneous publication online and in social media, photojournalists and editors need to discuss expectations before spot news happens since publication may occur straight from the camera with no chance for intervention.
All I Needed to Know About Photojournalism Ethics, I Learned in KindergartenBradley Wilson
Images from the Boston Marathon fueled an ongoing debate among professionals about the publication of graphic images and whether or not it is acceptable to alter spot news images digitally. While photojournalists have been having similar discussions since the dawn of the profession and the publication of graphic images from the Civil War and World War II, professionals and non-photojournalists responding to a 36-question survey after the Boston Marathon agreed that publication of graphic, spot-news images was acceptable as a reflection of what happened at a major news event. Photojournalists and non-photojournalists also agreed that manipulation was generally acceptable in photo illustrations but not at all acceptable in hard news images establishing some boundary on when digital manipulation can be used in a photojournalistic setting. Nearly 100 percent agreed that “The highest and strictest standards should be applied to hard-news photographs.” In regard to the manipulation of specific spot news images, however, professionals and non-photographers disagreed with non-photographers, with non-photographers accepting the blurring of the face of a victim of the bombing and the digital removal of broken bones in a New York Daily News image. To provide guidance in such circumstances, only 40 percent of professionals had any written policy regarding digital ethical conduct. While establishing a written code of ethics may prove helpful, in this age of instantaneous publication online and in social media, photojournalists and editors need to discuss expectations before spot news happens since publication may occur straight from the camera with no chance for intervention.
Joe's Fourth Disscusion Joseph
Male
5/6/2016
8:32:11
AM
In the world of journalism, there are some stories that you simply have to critique
or censor. While this may seem counterintuitive to our industries need to maximize
truthtelling, it is important to remember that we have a huge impact on how the people
in our stories are perceived by the general population. For me, there are several red lines
that must be considered before publishing a story. First and foremost, it is important to
ensure accuracy in your reporting. If any material, photograph or otherwise, is used in a
manner which will misinform or mislead your audience then is not appropriate. It is also
considered unethical by the standards set out by most professional journalists. An
example would be in the code of ethics as set out by the Society of Professional
Journalist. According to this code of conduct a journalist should, “…Make certain that
headlines, news teases and promotional material, photos, video, audio, graphics, sound
bites and quotations do not misrepresent. They should not oversimplify or highlight
incidents out of context” (Jaquette, 2007). To misrepresent an issue is the same as lying
about an issue. That is something that no honorable and professional journalist should
do. This is especially true when it comes to photographs. They are easily manipulated by
a savvy mind.
Second, I feel that children should be given special consideration when reporting
on a story. They have their whole lives ahead of them and we all know what one bad
news story could do to a person’s future. Imagine what that kind of negative publicity
would do to a child. It would shape their future in ways we could not account for nor
imagine.
While lastly, I feel it is important to give special consideration to those who
cannot defend themselves. Much like children, the old and infirmed are in considerable
danger of being used and manipulated by a savvy reporter. Of course, there are
exceptions to these moral and ethical considerations. Some of you may be old enough to
recall Geraldo Rivera's exposé documentary of the Willowbrook State School. In it, Mr.
Rivera utilized shocking and horrifying footage of the conditions inside this mental
health facility. While these images may not have been the best representation of these
poor individuals, it did serve to shock the public into taking action. Eventually, these
individuals were removed from this hellhole and given the proper medical treatment
and facilities that they deserved as American citizens. Overall, it was only by crossing
that thin red line that Mr. Rivera was able to affect change in an otherwise complacent
and apathetic nation.
References
Jacquette, Dale. (2007). Journalistic Ethics: Moral Responsibility in the Media. (1st
Edition). Retrieved
fromhttps://online.vitalsource.com/#/books/9780558693404/cfi/4!/4/2/8/6/2/2/2/[email protected]:0
Respond
The Red Li.
The development of the Internet and digital technology by the end of the
twentieth century has raised serious disputes about ethics, authenticity and photo
manipulation. These concerns are especially relevant in the field of photojournalism
in the news media, where credibility matters the most. In this paper we described
the current situation in relation to image authenticity and professional ethics in three
countries of Central Europe – the Czech Republic, Poland and Slovakia. We asked research questions regarding photo production, circumstances of photographing, image
content, technical improvements, manipulation, ethical standards and responsibility.
Our findings reveal a complexity of ethical issues related to working with visual news
material. During the fieldwork we conducted 65 in-depth interviews and surveys with
full-time and freelance photojournalists and photo editors working for printed and
online newspapers and opinion magazines in Central Europe.
Scholastic photojournalists and the publication of graphic, spot news imagesBradley Wilson
A case study examination of how scholastic photojournalists compare with their advisers and professional photojournalists regarding the publication of various images from the Boston Marathon bombing. This presentation also shows how the case study approach and use of current events can be included into the classroom.
Essay About Photography. What is a photo essay?Holly Bell
PHOTOGRAPHY ESSAY. Photographic Essay Essays Photograph Free 30-day Trial Scribd. Photography Essay Essay on Photography for Students and Children in .... The Photographic Essay. Photo Essay Rules Examples for Students Pro Essay Help. Photography Essay. - A-Level Art amp; Design - Marked by Teachers.com. How to Make a Photo Essay: 5 Tips for Impactful Results. Portrait Photography Essay by Jess B - Issuu. 15 Photo Essay Ideas to Get Your Creative Juices Flowing Digital .... Essay photography Photograph Invention. How to Make a Photo Essay with Pictures - wikiHow. Photography Essay: How to Pick Topics and Write Unique Content. A level photography essay introduction. Photography Essay Assignment for Students Theme: Travel - Education. Photo essay. 5 Tips for Creating a Photo Essay wi
Joe's Fourth Disscusion Joseph
Male
5/6/2016
8:32:11
AM
In the world of journalism, there are some stories that you simply have to critique
or censor. While this may seem counterintuitive to our industries need to maximize
truthtelling, it is important to remember that we have a huge impact on how the people
in our stories are perceived by the general population. For me, there are several red lines
that must be considered before publishing a story. First and foremost, it is important to
ensure accuracy in your reporting. If any material, photograph or otherwise, is used in a
manner which will misinform or mislead your audience then is not appropriate. It is also
considered unethical by the standards set out by most professional journalists. An
example would be in the code of ethics as set out by the Society of Professional
Journalist. According to this code of conduct a journalist should, “…Make certain that
headlines, news teases and promotional material, photos, video, audio, graphics, sound
bites and quotations do not misrepresent. They should not oversimplify or highlight
incidents out of context” (Jaquette, 2007). To misrepresent an issue is the same as lying
about an issue. That is something that no honorable and professional journalist should
do. This is especially true when it comes to photographs. They are easily manipulated by
a savvy mind.
Second, I feel that children should be given special consideration when reporting
on a story. They have their whole lives ahead of them and we all know what one bad
news story could do to a person’s future. Imagine what that kind of negative publicity
would do to a child. It would shape their future in ways we could not account for nor
imagine.
While lastly, I feel it is important to give special consideration to those who
cannot defend themselves. Much like children, the old and infirmed are in considerable
danger of being used and manipulated by a savvy reporter. Of course, there are
exceptions to these moral and ethical considerations. Some of you may be old enough to
recall Geraldo Rivera's exposé documentary of the Willowbrook State School. In it, Mr.
Rivera utilized shocking and horrifying footage of the conditions inside this mental
health facility. While these images may not have been the best representation of these
poor individuals, it did serve to shock the public into taking action. Eventually, these
individuals were removed from this hellhole and given the proper medical treatment
and facilities that they deserved as American citizens. Overall, it was only by crossing
that thin red line that Mr. Rivera was able to affect change in an otherwise complacent
and apathetic nation.
References
Jacquette, Dale. (2007). Journalistic Ethics: Moral Responsibility in the Media. (1st
Edition). Retrieved
fromhttps://online.vitalsource.com/#/books/9780558693404/cfi/4!/4/2/8/6/2/2/2/[email protected]:0
Respond
The Red Li.
The development of the Internet and digital technology by the end of the
twentieth century has raised serious disputes about ethics, authenticity and photo
manipulation. These concerns are especially relevant in the field of photojournalism
in the news media, where credibility matters the most. In this paper we described
the current situation in relation to image authenticity and professional ethics in three
countries of Central Europe – the Czech Republic, Poland and Slovakia. We asked research questions regarding photo production, circumstances of photographing, image
content, technical improvements, manipulation, ethical standards and responsibility.
Our findings reveal a complexity of ethical issues related to working with visual news
material. During the fieldwork we conducted 65 in-depth interviews and surveys with
full-time and freelance photojournalists and photo editors working for printed and
online newspapers and opinion magazines in Central Europe.
Scholastic photojournalists and the publication of graphic, spot news imagesBradley Wilson
A case study examination of how scholastic photojournalists compare with their advisers and professional photojournalists regarding the publication of various images from the Boston Marathon bombing. This presentation also shows how the case study approach and use of current events can be included into the classroom.
Essay About Photography. What is a photo essay?Holly Bell
PHOTOGRAPHY ESSAY. Photographic Essay Essays Photograph Free 30-day Trial Scribd. Photography Essay Essay on Photography for Students and Children in .... The Photographic Essay. Photo Essay Rules Examples for Students Pro Essay Help. Photography Essay. - A-Level Art amp; Design - Marked by Teachers.com. How to Make a Photo Essay: 5 Tips for Impactful Results. Portrait Photography Essay by Jess B - Issuu. 15 Photo Essay Ideas to Get Your Creative Juices Flowing Digital .... Essay photography Photograph Invention. How to Make a Photo Essay with Pictures - wikiHow. Photography Essay: How to Pick Topics and Write Unique Content. A level photography essay introduction. Photography Essay Assignment for Students Theme: Travel - Education. Photo essay. 5 Tips for Creating a Photo Essay wi
1. Language Exercise #1 - Content (Free media vs Censorship)
Ms Pepper Lee Page 1
Name:_________________________________ Class:_______
ADDITIONAL LANGUAGE EXERCISES #1: The basics
Instructions:
Read the following article (which will be useful for those of you thinking of specializing in media/
censorship). Circle/ underline/ bold the correct word. There are 30 questions altogether – attempt all of
them.
Note: Do attempt this exercise without looking up answers. If you do score less than 20/30 for this
exercise, you should be a tad worried. Drop me a message (email/ text) and let’s make use of the
September holidays to work on grammar issues!
Topic: Freedom of Press
Article 1: When pictures tell a thousand words – or lies
26 April 2007 Eleanor Woods
As technology (1) advance/ advances, photo manipulation (2) become/ becomesincreasingly
controversial. Digital deception undeniably (3) damage/ damages photojournalism, in that it creates
suspicion. In a media environment that (4) demand/ demandstruth, credibility and accuracy, one fake
photo can bring all photojournalists into disrepute.
A picture tells a thousand words. But what if those words are lies? Are they fit to be alongside truthful
news reports? Sharpening, adding contrast, retouching and brightening, all of (5) this/ thesephoto
manipulation techniques seem harmless. What about air brushing and cutting and pasting? These
digital manipulations have the power to change the actual meaning of photographs.
We know how easy it is to alter images in this digital age. But, how far is too far? And what effect is
photo manipulation having on the media industry?
In August 2006, photographer Adnan Hajj made the decision to digitally enhance photographs he (6)
has taken/ had taken of an air strike by Israeli forces in Beirut. In doing so, he changed the meaning of
the images. The photographs were no longer moments in time, but an exaggerated portrayal of what
(7) has occurred/ had occurred. According to a report by Bryan E. Denham, associate professor in the
Department of Communication Studies at Clemson University, Hajj “admitted to using Photoshop
software to doctor the images”. What Hajj had done “constituted a major breach of journalism ethics,”
he says.
In an endeavour to make his photographs more newsworthy, Hajj (8) cost/ costshimself his career and
also brought doubt to the profession.
As technologies expand, photo manipulation (9) become/ becomes increasingly controversial. Digital
deception no doubt (10) damage/ damagesphotojournalism, in that it creates suspicion. In a media
environment that demands truth, credibility and accuracy, one fake photo can bring all
2. Language Exercise #1 - Content (Free media vs Censorship)
Ms Pepper Lee Page 2
photojournalists into disrepute. Think how tempting it must be for some photographers, to be armed
with the modern advantages of Photoshop.
Chief of photography for The Northern Advocate, John Stone, thinks that when digital manipulation
(11) come/ comesinto play “the magic of photography is lost. You‟re not really taking photos, but
creating images”. Stone admits he does (12) modify/ modifies photographs to enhance their picture
quality, but “never to change their meaning”. He emphasises the (13) importants/ importanceof
differentiating between “photographs” and “illustrations”. “I always make sure it is clear where I have
manipulated an image,” he says. “When you start playing with things [photos] here and there, some
people find it hard to stop,” he says. Stone thinks that some photographers don‟t know where the
boundaries (14) lay/ lie/ lies.
He estimates that around 20 per cent of photojournalists probably seriously manipulate their images
without being caught.
American Journalism Review's Cheryl Johnston discusses how photographer Brian Walski‟s decision
to manipulate two images of Iraq in an attempt to capture a moment, (15) cost/ costs/ costedhim his
career with the Los Angeles Times. It also (16) cost/ costs/ costedthe media industry in credibility.
Walski merged two photographs, taken seconds apart, to create a better photo. It is unethical for
journalists to merge two quotes. It‟s no different for pictures. Photojournalism should accurately
reflect the world, not interpret it. Time magazine recently featured a doctored image of former U.S.
President, Ronald Reagan, with a tear rolling down his cheek. This, under the headline „How the right
went wrong‟, (17) alter/ altersthe meaning of an otherwise standard headshot. This self-governed
creative licence has serious implications for photojournalism, says Johnston.
Journalists supposedly abide by codes of conduct that (18) demand/demandstruth, accuracy and
credibility. In an attempt to capture that „perfect shot‟ that ceased to exist, photo forgery (19)
discredit/ discreditsthe industry.
Han Faird, associate professor of science at Dartmouth College says: “Seeing is no longer believing.
Technology that (20) allow/ allowsdigital media to be manipulated and distorted (21) is/
aredeveloping at breakneck speed.” The ramifications are severe. Society already (22) has/ had/
havelittle trust in journalists.
In a British study, conducted by MORI Social Research Institute, findings showed that public trust in
journalists (23) was/ were very low. The study of 2141 people aged 15 and over revealed that trust in
journalists paled in comparison to that of other professions. In 2003, only 18% of the people
questioned (24) believe/ believes that journalists tell the truth, compared with 91% trust for doctors
and 87%trust for teachers. According to the chairman of MORI, “everyone in the communications
business is now faced with a fundamental decline in trust”. “Trust is built over time,” he says, “but it
can be lost in an instant.”
People trust news photographs to be a moment in time, an accurate reflection of what (25) has/
havehappened. Widely known photographic consultant and critic Philip Douglis says:
“Photojournalists regard human eyes as windows into the souls of their subjects.”
Imagine you are a photojournalist and you have captured a great shot but one of the subjects is
blinking. Do you “correct” the photo by super-imposing an eye in place, or do you leave it as it was
captured? If, as Douglis says, “Eyes can tell us how their owners feel”, then photojournalists have no
3. Language Exercise #1 - Content (Free media vs Censorship)
Ms Pepper Lee Page 3
right in manipulating those feelings, and further, the meaning behind the image. Douglis says, “As
subjects for the camera, they [eyes] can express profound meaning.”
New Zealand Herald photographer Greg Bowker was faced with this predicament in a recent paper.
On the front page of the business section, his photograph of Pete Maire and Keith Phillips (26) was/
wererun with Phillips blinking. He said the decision was easy for him because he does not believe
digital manipulation (27) add/ adds to news photographs. Instead, he believes it takes away from it.
“Photojournalists should capture a moment, not create one,” says Bowker. “There is a time and a
place for creative control, and it‟s not in news,” he says.
Bowker uses “the darkroom test” to identify whether or not photo manipulation is ethical. “If you can
do it in a darkroom, then it‟s acceptable,” he says. Things such as cropping, dodging and burning are
fine. “Anything that (28) distort/ distortsthe truth is strictly off limits,” says Bowker.
Greg Bowker suggests that the reason photographers digitally manipulate their pictures is because of
the desire to create the perfect image. Pressures for quality, quantity and meeting deadlines are all
contributing factors. “It‟s a temptation to dabble. Some photographers see Photoshop as a toolbox,”
says Bowker. “It makes it hard for everyone when someone (29) get/ getscaught faking it,” he says.
“Accuracy and credibility (30) is/arecrucial in journalism. Every morning people pick up the paper
expecting to see something true - if it‟s not then we lose trust,” he says.
We must be conscious of these things as the field of photojournalism becomes more and more
malleable. With technology snowballing, the manipulation of photographs becomes easier and more
technically unidentifiable.
As image manipulation becomes increasingly difficult to decipher, we should consider reading an
image, as we should a text. Not as “truth” but as “one version of the truth”. For there are many ways
to tell a story, but in a photograph‟s so-called thousand words there is much room for interpretation.