Alterations in Journalistic Photography

In no way, shape, or form is it ethical to alter press photographs, besides basic photo enhancement to make the photograph presentable, but even with this there are strict guidelines to follow. With advanced technologies and the introduction of digital photography were are now able to store hundreds to thousands of photos on our cameras and transmit them to our laptops, edit them, and release them to audiences over the Internet, all while on the field. Before any of this was available photojournalists needed to leave the field after snapping some pictures and develop them in a dark room, also without the ability to edit them. So with technology came a contamination to the integrity of some photos presented in news stories.  Photojournalists have been accused of altering press photographs to favor what they believed to be the truth,

"Ever since the most recent Reuters discovery (of altered photos of the Israeli-Hezbollah fighting) …….."One should note, during this particular war, each side is continually trying to prove an 'agenda' in all media outlets. They call into question everything, every usage, and balance. You cannot persuade either side that you have (no agenda) because to them, there is no other truth but their own." (Photojournalism in the Age of Scrutiny) 

The slightest changes to a photo can cause drastic changes. With a little bit of exposure play a dark mood can be achieved, making O.J Simpson appear more frightening.

Another example of slight alterations that can completely misrepresent the realities of the subject. Just by cropping you can present the colored photo in the center with a aggressive approach or a positive approach

To contain and quarantine the issue of unethical alterations to press photographs a code of ethics was developed. These codes became out-dated, so Society for News Design (SND) developed an updated code of ethics to work with evolving technologies. Gaspard, a former SND president said, "if you look into the language of the code you can find words that will guide you through any ethical situation that you face" (Photojournalism in the Age of Scrutiny). The Times also has guidelines that condemn press photograph alteration such as:  people/objects may not be added or removed from photographs, adjustments to colors should be limited, and no scenes should be posed.

News stations, reporters of all kinds have to protect their integrity and credibility to the public consumer, and in doing so, take on threats from unethical progression. NPPA code of ethics, and the SND code of ethics protect and reinforce the sincerity and reliability of news reporters, to enhance the trust that the public has in them.

Sources:

WebCT- Photography: Shooting the Truth; Photojournalism in the Age of Scrutiny by Kenneth Irby (Poynter Online)

 

Kertesz and Cartier-Bresson versus Smith and Salgado

The only similarity between the works of Andre Kertesz and Henri Cartier-Bresson when compared to Eugene Smith and Sebastio Salgado is the purpose for the creation of their photographs: to reveal a story or moment that they wanted to express in their photographs; either by slight manipulation or not. They wanted to secure this ‘story’ in a photograph that had the ability to re-tell the story to their audience. This was of great importance to each photographer.

Upon studying the photography methods of each photographer there were apparent differences in the active philosophy and technique in Kertesz’s and Cartier-Bresson’s work versus Smith’s and Salgado’s. Here is a quote from Cartier-Bresson speaking about his work, ‘Sometimes a picture disappears, and there’s nothing you can do, you cant tell the person, “Oh, please smile again, do that gesture again”, life is once, forever.’ It is safe to say that Cartier-Bresson and Kertesz both feel that a great photograph is born from its most natural moment, the decisive moment. Bresson and Kertesz felt they had to be invisible, as if they weren’t physically present, so that they didn’t accidently influence the moment they were trying to capture.

Smith and Salgado had quite a different approach, quite opposite actually. Instead of acting ‘invisible’ they interfered with the moment they were trying to capture. Why you ask? They were compelled to have their photographs influenced by their interpretations and opinions; allow their photographs to tell ‘their’ story. You could refer to this as presenting a biased approach to photography. 

These photographers both have interesting methods, but one group’s method is quite questionable in my eyes. Of course, each photographer’s effectiveness will be different in different scenarios. In the case of major news stories, Smtih’s and Salgado’s approach versus Kertesz’s and Cartier-Bresson’s approach is ludicrous because they would defy the morals of journalism. Instead of delivering the true, natural, un-touched news story, like expected by the public, they would deliver photographs that present a bias and possibly put the news story out of context. On another note, if a simple news story were to be represented, like a town fair, or street festival, using Smith’s and Salgado’s approach to photography would be ideal because they would most likely provide more fun, creative photography for their audiences.

Sources:

1. KerteszCartier-BressonFromShootingTheTruthGordanaIccevska.pdf - on Oct 29, 2009 5:53 PM by Gordana Icevska  http://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxzaG9vdGluZ3RoZXRydXRofGd4OjRmNDAzZGZlNjZmMDhkYmE

2. SmithSalgadoShootingTheTruthIcevska.pdf - on Nov 4, 2009 6:50 PM by Gordana Icevska http://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxzaG9vdGluZ3RoZXRydXRofGd4OjM4ZmFkYjVhZDIwNjYyZjQ

Photojournal Part 2- Art photography versus Press Photography

Press Photography and Art photography both share similarities and differences, but they are very much different from each other in the sense of meaning and portrayal. Press photographs provide visual support for stories they represent, but fine art photographs are the outcomes of the photographers’ visions and creativeness.

Similarities: Press photography is taken to visually represent an event or story and art photography can represent a story and/or event by the choice of the photographer. Photographs from each respective discipline tell a story to their viewers; listed below are two examples, one press, and one art that both express history that were/are listed as big news headlines:

           

The first photograph is a press photograph taken moments after a suicide car bombing in Kabul, Afghanistan depicting the horrors of the tragic events, and the second photograph is of Ernesto Che Guevara, a symbolic figure of the revolution in Cuba in the mid 50’s. The face of Che tells his own story. 

Soldiers pull a woman from the scene of a suicide car bombing in Kabul, Afghanistan, in a December 15 picture by Australian photographer Adam Ferguson.

Ernesto Che Guevara, 'Chile 85'. Pencil editing effect.

Differences: The biggest difference between the two disciplines is that Photojournalism distinguishes itself from other forms of professional photography by its adherence to the principles of journalism: timeliness, accuracy, fair representation of the context of events and facts reported, and accountability to the public (Dillon Westbrook) and that Photojournalism is the use of photographs in conjunction with the reporting of news in media such as print newspapers, magazines, television news and internet reporting (Westbrook). A photojournalist cannot merely edit or set up a photo to couple his or her artistic and creative view of the story, but must present a photo in its originality and true context. A press photograph visually informs and connects the reader to the realities of the story. This is why The Toronto Start has a code of ethics that forbids altering the content of photographs (Gordana S. Icevska). On the other hand, art photography has no code of ethics to follow such as the NPPA. A fine art photographer has all the freedom to alter a photo in any way, shape, or form they desire since their objective isn’t to represent an object, or event in its truest, most original form, but in a way that is unique to a personal artistic style. Art photography doesn’t limit itself to events or stories, but has a broad spectrum of endless subjects.

Below are two examples, each representing the two photography disciplines. The first displays politically fueled rioting movements in Madagascar that lasted for 2 months, killing 170 people. The second is a image of a Northern Pacific railway car, depicted in a artistically dark ‘industrial’ mood. Eric Swanson

Two men hide behind a barrier as police fire tear gas at rioters in Antananarivo, the capital of the African island country of Madagascar; Photographer: Walter Astrada, Agence France-Presse

Photographer: Eric Swanson

Sources:

Westbrook, Dillon. "A Brief History of Photojournalism." Photography-Schools.
     N.p., n.d. Web. 11 Nov. 2010. <http://www.photography-schools.com/
     photojournalismhistory.htm>. 

"Photojournalism Bibliography." Poynter Online. N.p., n.d. Web. 12 Nov. 2010.
     <http://webct.georgebrown.ca/webct/urw/lc2044122001.tp0/
     cobaltMainFrame.dowebct>. 

"NPPA Code of Ethics." National Press Photographers Association. N.p., n.d. Web.
     13 Nov. 2010. <http://www.nppa.org/professional_development/
     business_practices/ethics.html>. 

Icevska, Gordana. "SHOOTING THE TRUTH: HOW PHOTOGRAPHS IN THE MEDIA BETRAY US." Learning Activities Week 9. Microsoft Word file.