Article #4 Review
Paul Martin Lester reviews the history of photo fakery and cites various flagrant acts of manipulation since the early days of photography. In those days, even if the photographer did not reveal alterations, the original was often still available proof.
In the era of computer technology, there may be no original record of alteration, so it is difficult to prove that manipulation has taken place. Lester reminds the reader that justifications to alter an image do not change the fact that the image has been changed. Reality has been altered. The photographer or publisher that runs a manipulated image faces the risk of loosing public credibility.
In Lester's view, there are five key areas that are of greatest concern to most photojournalists regarding ethics in photojournalism:
Victims of Violence
As discussed in class, timing and appropriateness of images should be taken into consideration, but it’s the responsibility of the journalist to explain as Lester says, “underlying social forces that cause such tragic events to occur.” Often economic value wins in the battle of ethics over entertainment.
Picture Manipulation
Even though a publication may offer disclosure for an altered photo, the question always comes back to: where do we draw the line, or when is it ok to lie? When is it art and, when is it news? It seems that intent of the photographer is a key factor. Ultimately, the photographer may loose control over where the image appears. His intent may be completely lost and a new interpretation may become the new reality.
Stereotyping
As journalists it is our responsibility to be aware of cultural biases. An image may have a sub-conscious effect on a viewer – based on inaccurate conditioned assumptions that we carry of a particular gro.
Advertising/Editorial Blurring
An infomercial may appear informative and educational, but it is still a form of advertising with journalistic qualities-- another area of blurring the editorial line. We run the risk, again, of loosing the credibility of our viewers when we send out inconsistent messages.
Right to Privacy
Sensationalism and greed tend to invade the lives of “public personalities.” The act of providing an image at any cost can completely overshadow the importance of fairness and accuracy.
The 1946 Hutchins Commission provided a definition of news that still makes sense: “A truthful, comprehensive, and intelligent account of the day’s events in a context which gives them meaning.
Tuesday, October 27, 2009
Sunday, October 25, 2009
Global Tragedies
Weekly Image Review, #4
Pakistan shooting of army brigadier
This fascinating image offers many scenarios at the same time. To begin with, we see a car and its windshield that has taken a direct hit on the passenger side. We learn by the caption, that an army brigadier has been shot in the gun fire. We also know that this happened in Pakistan and that clearly the military is now involved in the escalated action taking place there.
Through the passenger window we see an active man wearing bright emergency gear as if this image was taken early in the event. In another view, the driver’s side window reflection, we see a man robed in white, a person of authority, has gotten out of his car and is deeply engaged with other men.
As we discussed in class, this is a multi-faceted photo with much going on. Along with the other action, even in the upper right corner, we see colorful indicators that this is perhaps a busy street and that it likely happen in the midst of much activity.
Girl with vulture (extra credit)
Another horrific tragedy on the world stage. This is an older photo which speaks to the starvation in Ethiopia. In this barren and dry setting, we see a child alone, too weak and unable to sit upright. Behind the emaciated little girl is a vulture, waiting and watching as she silently suffers—its wings and slight arched, as if ready to pounce on her at any moment.
As we discussed in class, the background of this story is just as provoking as the setting the subject matter here represents. Sadly, this particular image of the conditions in Ethiopia received so much criticism that the photographer never recovered from the experience and ultimately committed suicide.
The good news is that the child was rescued from the plight of the vulture and taken to a hospital for treatment. I wonder what happened to this one little girl—one of millions who have died from starvation, while the world stands by and debates whether to have fries with their next Big Mac.
Pakistan shooting of army brigadier
This fascinating image offers many scenarios at the same time. To begin with, we see a car and its windshield that has taken a direct hit on the passenger side. We learn by the caption, that an army brigadier has been shot in the gun fire. We also know that this happened in Pakistan and that clearly the military is now involved in the escalated action taking place there.
Through the passenger window we see an active man wearing bright emergency gear as if this image was taken early in the event. In another view, the driver’s side window reflection, we see a man robed in white, a person of authority, has gotten out of his car and is deeply engaged with other men.
As we discussed in class, this is a multi-faceted photo with much going on. Along with the other action, even in the upper right corner, we see colorful indicators that this is perhaps a busy street and that it likely happen in the midst of much activity.
Girl with vulture (extra credit)
Another horrific tragedy on the world stage. This is an older photo which speaks to the starvation in Ethiopia. In this barren and dry setting, we see a child alone, too weak and unable to sit upright. Behind the emaciated little girl is a vulture, waiting and watching as she silently suffers—its wings and slight arched, as if ready to pounce on her at any moment.
As we discussed in class, the background of this story is just as provoking as the setting the subject matter here represents. Sadly, this particular image of the conditions in Ethiopia received so much criticism that the photographer never recovered from the experience and ultimately committed suicide.
The good news is that the child was rescued from the plight of the vulture and taken to a hospital for treatment. I wonder what happened to this one little girl—one of millions who have died from starvation, while the world stands by and debates whether to have fries with their next Big Mac.
Tuesday, October 20, 2009
Environment Photos and Critique
Photo Assignment 1: Environment
My images are a result of time spent at The GrassRoots Community Garden in Eugene. Although it was loaded with crops and abundant produce, I more was captivated by the storybook quality of the garden. Its magical quality was brought alive by the vivid assortment of small structures and architectural elements scattered about the grounds.
Guy Wired
The other two were less successful. The garden shot of the fairytale-like sign and sunflowers was a likely second; but missed the mark mostly due the center sunflower's lack of clarity. The third image, a red shed framed with dahlias, was colorful, but decidedly uninspired and uninteresting.
I’ve learned a lot from this first challenge. Before I begin, I should have a clear mission of what I am trying to convey. It must be distinct and provide an engaging perspective that draws the viewer in. The images should also create a package, a unified message.
On my first shoot, I was very caught up in all the trappings: my camera and settings, my glasses, and all the other accoutrements. I was distracted and lacked the clarity to completely capture the moment.
My images are a result of time spent at The GrassRoots Community Garden in Eugene. Although it was loaded with crops and abundant produce, I more was captivated by the storybook quality of the garden. Its magical quality was brought alive by the vivid assortment of small structures and architectural elements scattered about the grounds.
Guy Wired
I was able to take a number of nice shots of ripe vegetables and flowers, and of people milling about the garden, but I was really attracted to the enchanted aura that the garden offered. For my three Best Shots, I selected ones that I hoped would capture this special quality.
In class, the consensus was that Guy Wired was the best photo of the selection; it offered a unique perspective and captured a sense of place. It also felt that we were following Guy with his load of tomato cages.
Sunflowers
The other two were less successful. The garden shot of the fairytale-like sign and sunflowers was a likely second; but missed the mark mostly due the center sunflower's lack of clarity. The third image, a red shed framed with dahlias, was colorful, but decidedly uninspired and uninteresting.I’ve learned a lot from this first challenge. Before I begin, I should have a clear mission of what I am trying to convey. It must be distinct and provide an engaging perspective that draws the viewer in. The images should also create a package, a unified message.
Red Shed with Dahlias
On my first shoot, I was very caught up in all the trappings: my camera and settings, my glasses, and all the other accoutrements. I was distracted and lacked the clarity to completely capture the moment.
Sunday, October 18, 2009
Military Censorship of Photographs
Article # 3 Review
Patterson and Wilkins discuss the military’s heavy handedness of press censorship during the Gulf War. The tight control of the press required that photos and stories be approved by the US and allied military prior to print. Reporters were kept away from the front line and allowed only limited press coverage elsewhere. The conflict between the press and military became so contentious that nine US publications filed suit against the Defense Department’s pool procedures.
The argument for freedom of press during military conflicts is a tough one. The public has a right to know, and should be informed about the conditions of war--as unpleasant as it is. If we live in a protected bubble and believe that war is not about killing and death, then we are delusional--or we have been misled.
I have reservations concerning the press’s right to complete access to war coverage. A photographer may be an unnecessary risk or added distraction during dangerous conflicts. There are also times when the military should have authority concerning press placement and level of press coverage; most certainly if there is a security threat to troops involved, or if there is a risk of providing unnecessary information to the enemy.
Photos of death are an emotional concern. It is important that we remain sensitive to the feelings of families and loved ones; they have a right to know first when there has been an injury or death. Timing or placement of a similar news story or photo should meet the same standards. I believe that photographers should also receive advance permission before releasing photos of grieving soldiers and/or private individuals. What purpose does it serve? This falls into the realm of sensationalism, and I don’t support it.
Patterson and Wilkins discuss the military’s heavy handedness of press censorship during the Gulf War. The tight control of the press required that photos and stories be approved by the US and allied military prior to print. Reporters were kept away from the front line and allowed only limited press coverage elsewhere. The conflict between the press and military became so contentious that nine US publications filed suit against the Defense Department’s pool procedures.
The argument for freedom of press during military conflicts is a tough one. The public has a right to know, and should be informed about the conditions of war--as unpleasant as it is. If we live in a protected bubble and believe that war is not about killing and death, then we are delusional--or we have been misled.
I have reservations concerning the press’s right to complete access to war coverage. A photographer may be an unnecessary risk or added distraction during dangerous conflicts. There are also times when the military should have authority concerning press placement and level of press coverage; most certainly if there is a security threat to troops involved, or if there is a risk of providing unnecessary information to the enemy.
Photos of death are an emotional concern. It is important that we remain sensitive to the feelings of families and loved ones; they have a right to know first when there has been an injury or death. Timing or placement of a similar news story or photo should meet the same standards. I believe that photographers should also receive advance permission before releasing photos of grieving soldiers and/or private individuals. What purpose does it serve? This falls into the realm of sensationalism, and I don’t support it.
Saturday, October 17, 2009
Buddhist Monks in Contemplation
Weekly Image Review, #3
Buddhist Monks honoring 1973 Thai student protest
This is a chilling image.
If it were not for the brilliant orange robes worn by the monks, this could be a stark black and white photo. The penetrating orange juxtaposed on the images of war is a sensational attention grabber.
Here, monks are uniformly lined up in padded chairs, appearing downcast and grim; this regimented and controlled assemblage is far removed from our perception of their lifestyle: one of peaceful simplicity.
The back story certainly gives us added dimension and understanding. This is a ceremony in which the monks are honoring the 1973 bloody Thai uprising where many students were beaten and killed. At that time, their country was closed down and the monks were forced with huge dilemma. They had to decide whether they should stand by passively while innocents were being slaughtered--or to actively participate. Their brave acts included smuggling images out of the country which informed the world of the extent of the Thai protest.
This is clearly not a celebration; the faces reflect sadness and pain. However, in a broader sense, this photo reminds the world of the price we pay for freedom and peace. In class, we agreed the take-away message is "embrace hope and peace."
Buddhist Monks honoring 1973 Thai student protest
This is a chilling image.
If it were not for the brilliant orange robes worn by the monks, this could be a stark black and white photo. The penetrating orange juxtaposed on the images of war is a sensational attention grabber.
Here, monks are uniformly lined up in padded chairs, appearing downcast and grim; this regimented and controlled assemblage is far removed from our perception of their lifestyle: one of peaceful simplicity.
The back story certainly gives us added dimension and understanding. This is a ceremony in which the monks are honoring the 1973 bloody Thai uprising where many students were beaten and killed. At that time, their country was closed down and the monks were forced with huge dilemma. They had to decide whether they should stand by passively while innocents were being slaughtered--or to actively participate. Their brave acts included smuggling images out of the country which informed the world of the extent of the Thai protest.
This is clearly not a celebration; the faces reflect sadness and pain. However, in a broader sense, this photo reminds the world of the price we pay for freedom and peace. In class, we agreed the take-away message is "embrace hope and peace."
Sunday, October 11, 2009
France May Put Warning Labels on Airbrushed Photos
Extra Credit Article
French parliamentarian Valerie Boyer is leading the way on pending legislation that would require a warning be posted on digitally enhanced advertisements in France. I hope I’m not boxing myself in a corner on this one--because I love the idea of beauty--but I tend to support Boyer’s conservative’s position.
I am taking this stand because currently in my Global Health class we are concentrating on the aspects of power and privilege. As a society, we perpetuate the mythical and unattainable standards of perfection as the only acceptable and achievable way to live. We are sending messages to our children that anything short of perfection is unacceptable; but sadly, we will never achieve it. The further we fall from our societal standards, the more feelings of angst, personal inferiority, and failure we experience.
We like the notion of living in a perfect world, because then we would have no problems. This is a myth that is unrealistic and unattainable, and until we accept it as such, we are destined for unhappiness. The article quotes Boyer so aptly, “It’s creating parallel worlds: one in which everything in ads and photos is gorgeous, slim, chic and what we aspire to, and our daily reality of imperfection, normality and frustration that we can’t be like those other people who—literally—don’t exist.”
Along with this article, we also received photos of historic images that had been previously altered. The danger in this practice is evident. We can conveniently alter history to our advantage by adding or deleting facts or individuals that compete with our message of reality.
French parliamentarian Valerie Boyer is leading the way on pending legislation that would require a warning be posted on digitally enhanced advertisements in France. I hope I’m not boxing myself in a corner on this one--because I love the idea of beauty--but I tend to support Boyer’s conservative’s position.
I am taking this stand because currently in my Global Health class we are concentrating on the aspects of power and privilege. As a society, we perpetuate the mythical and unattainable standards of perfection as the only acceptable and achievable way to live. We are sending messages to our children that anything short of perfection is unacceptable; but sadly, we will never achieve it. The further we fall from our societal standards, the more feelings of angst, personal inferiority, and failure we experience.
We like the notion of living in a perfect world, because then we would have no problems. This is a myth that is unrealistic and unattainable, and until we accept it as such, we are destined for unhappiness. The article quotes Boyer so aptly, “It’s creating parallel worlds: one in which everything in ads and photos is gorgeous, slim, chic and what we aspire to, and our daily reality of imperfection, normality and frustration that we can’t be like those other people who—literally—don’t exist.”
Along with this article, we also received photos of historic images that had been previously altered. The danger in this practice is evident. We can conveniently alter history to our advantage by adding or deleting facts or individuals that compete with our message of reality.
The Difference Between Aesthetics, Etiquette, and Ethics
Article # 2 Review
Elliott and Lester write their inaugural column for News Photographer magazine on the issues surrounding aesthetics, etiquette, and ethics. Their discussion focuses on ethics and the question of “human cost.”
Aesthetics
In this article the argument concerning aesthetics in photojournalism centers on the issue of relevant social conditions versus the goal of delivering a pleasing image. They pose the question: is manipulation acceptable in achieving the message that the photographer wishes to convey? When is cropping, filters, color correction and other image enhancement acceptable? Their perspective is if the end result is to mislead or harm others, then perhaps an ethics question exists.
Etiquette
In their discussion of etiquette in photojournalism, they revisit harm vs. value. Elliott and Lester weigh in on the side of common courtesies and ponder the boundaries of good taste.
Ethics
In their opinion, discretion is important, but the human cost should be regarded as an overriding consideration. As they express it, our goal is to motivate people and/or assist them in navigating their lives more safely.
Is it possible to simply tell the story without diminishing those involved? It’s not the photographer’s job to editorialize at the expense of compromising others. The standard for determining the compelling value of an image is the photographer’s ability to defend it on ethical grounds. When this is evident, no further explanation should be necessary.
Elliott and Lester write their inaugural column for News Photographer magazine on the issues surrounding aesthetics, etiquette, and ethics. Their discussion focuses on ethics and the question of “human cost.”
Aesthetics
In this article the argument concerning aesthetics in photojournalism centers on the issue of relevant social conditions versus the goal of delivering a pleasing image. They pose the question: is manipulation acceptable in achieving the message that the photographer wishes to convey? When is cropping, filters, color correction and other image enhancement acceptable? Their perspective is if the end result is to mislead or harm others, then perhaps an ethics question exists.
Etiquette
In their discussion of etiquette in photojournalism, they revisit harm vs. value. Elliott and Lester weigh in on the side of common courtesies and ponder the boundaries of good taste.
Ethics
In their opinion, discretion is important, but the human cost should be regarded as an overriding consideration. As they express it, our goal is to motivate people and/or assist them in navigating their lives more safely.
Is it possible to simply tell the story without diminishing those involved? It’s not the photographer’s job to editorialize at the expense of compromising others. The standard for determining the compelling value of an image is the photographer’s ability to defend it on ethical grounds. When this is evident, no further explanation should be necessary.
Saturday, October 10, 2009
Silvio's Bad Day
Weekly Image Review, #2
Silvio's Bad Day
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In class we were all very surprised to learn the back story on this photo: here the angle of the photo, the news set background, and the microphone in lapel set the stage as the beleaguered Prime Minister of Italy learns from an interviewer on set that his wife has filed for divorce. His reaction says it all: he looks down with closed eyes, his left hand, sans wedding ring, goes to his forehead, almost shielding his eyes; he is stunned and speechless. Mama mia! It doesn’t get anymore Italian than this.
Silvia meets Michelle (extra credit)
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I love this image: the two Obamas appear very ill-at-ease while both tower over the diminutive Berlusconi. We rarely see a photo where President Obama looks so completely irked. We observe the first lady offering a stiff extended arm and hand, as opposed to the full-on embrace that Berlusconi seems to be encouraging. One person in class referred to this as his “come-to-papa” pose! President Obama is literally flexing his jaw in dismay. Just another photo depicting the Prime Minister in one of his many apparent gaffs.
Silvio's Bad Day
In class we were all very surprised to learn the back story on this photo: here the angle of the photo, the news set background, and the microphone in lapel set the stage as the beleaguered Prime Minister of Italy learns from an interviewer on set that his wife has filed for divorce. His reaction says it all: he looks down with closed eyes, his left hand, sans wedding ring, goes to his forehead, almost shielding his eyes; he is stunned and speechless. Mama mia! It doesn’t get anymore Italian than this. Silvia meets Michelle (extra credit)
I love this image: the two Obamas appear very ill-at-ease while both tower over the diminutive Berlusconi. We rarely see a photo where President Obama looks so completely irked. We observe the first lady offering a stiff extended arm and hand, as opposed to the full-on embrace that Berlusconi seems to be encouraging. One person in class referred to this as his “come-to-papa” pose! President Obama is literally flexing his jaw in dismay. Just another photo depicting the Prime Minister in one of his many apparent gaffs.
Sumatra Earthquake Rescue
Weekly Image Review, #1
Rescue Sumatra
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In class this was considered the lead image of the Sumatra Earthquake story as it suggests danger and urgency. Light is at a premium, it is dark and eerie looking. The perspective of looking down with one hand appearing from the left suggests a larger audience. Does the hand in the photo also suggest a plea for helping hands? We see the militia and other workers carrying someone of influence out on a stretcher. The heads are cast downward as if in concern and the action in the shot suggests they are rushed. It’s difficult to determine where this might have been taken, perhaps the bowels of the earth. The attendants are all dressed well and appear clean, but the setting is in stark contrast and suggests grit and rawness.
Girl on Bike (extra credit)
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The perspective of this photo is slightly removed from the disaster. We see a rural panoramic shot focused on one building. The sole cyclist is passing through our field of vision with eyes cast straight ahead. What was once pristine is now scattered with rubble. It appears to be a rural setting which implies the damage was widespread. It suggests the person is so numbed by the disaster that she isn’t even looking at it; is it just another destroyed building to her, or is she in shock and just trying to survive? In our class discussion, this was regarded as a supportive image. I actually prefer this one, because it reveals an otherwise beautiful setting, and a person getting on with life; just another day in paradise. It’s a place I might want to visit. I wonder if the ocean is just beyond those trees.
Rescue Sumatra
Girl on Bike (extra credit)
Photographic Perception: The Myth of the Thousand Words
Article #1 Review
Christopher Harris provides a sweeping analysis of a wide spectrum of articles where he delves into the “textual” meaning of photography. To simplify his discussion, he divides his findings into three categories:
Christopher Harris provides a sweeping analysis of a wide spectrum of articles where he delves into the “textual” meaning of photography. To simplify his discussion, he divides his findings into three categories:
- Studies concerned with the impact of photography on the viewer
Harris points out that photographs are universal and go beyond language barriers. He also suggests that photographers have the ability to present positive or negative messages and can control their content to result in a predetermined advantage. - Studies focused on the viewer’s response to photographs
Harris refers to “gut feelings” and examines the process of interpreting and expressing a response to a photograph when he quotes A.D. Coleman, “the image provokes me to feel and think and understand” (12). He is saying that our response to images can be an emotional connection. - Studies relative to content and the photographer’s intentions
Harris builds on the idea that photographs are thought to be true. In support, he sums up Sekula’s position and states: “The argument therefore comes back to the basic premise that people will believe what is contained in a photograph because they believe it documents a real occurrence and they can relate its truthful contents to known real-world experiences” (14).
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