The World Press Photo Contest Technical Report is misleading when it comes to their investigation with regard to Hossein Fatemi’s case. The report states “… Lyon was dealing with primary sources, in contrast to Talaie’s collection of secondary accounts.” This is inaccurate and unnecessarily misleading. It leaves the impression that World Press Photo (WPP) is using this language to alter the facts. What do they mean by “primary sources” versus “Talaie’s … secondary accounts?” The same language was used by WPP’s officials on social media. I would expect that WPP, as a credible journalistic institution, to revise their report and investigation.
This year the jury of the World Press Photo (WPP) awarded Iranian photographer, Hossein Fatemi, the second place for his long-term project titled ‘An Iranian Journey.’ Many who have directly interacted with Fatemi in Iran, Afghanistan, and other places consider his conduct unethical and ridicule his work as staged photojournalism.
Its impact is undeniable, but the winner of the World Press Photo of the Year furthers the compact between martyrdom and publicity
History is littered with allegations of staged photography in news settings, but the decentralization of the news media and the rise of hyper-partisan sites has led to something else: image theft and fraudulent captions.
It seems like centuries ago that, for example, media agonized over the video of Wall Street Journal reporter Daniel Pearl being savagely murdered by Pakistani terrorists. Most didn’t run the video. That was way back when, in 2002.
Now, with Facebook, the “well, it’s already out there on social media, we can’t ignore it” rationalization often takes hold. Thus, there were a great many folks who used portions of the video.
Burhan Ozbilici’s stunning photo of a gunman moments after assassinating the Russian Ambassador to Turkey Andrei Karlov spread like wildfire over social media. While many within the photojournalism community quickly declared the image as the “photo of the year,” and worth of top prizes, one voice offered dissent. Matt Slaby is a photographer and founding member of Luceo Images, a creative visual agency that originally started as a collective of top photojournalists.
An interesting story about ethics in photojournalism has emerged today: the New York Times has published a correction to a major story, saying that the original main photo had a picture frame removed from the scene because it was causing glare.
During the election, many wondered whether journalists were justified in publishing information obtained by hackers. By publishing newsworthy information, were they complicit in a shadowy campaign to influence the election?
the photograph was branded with the Benetton logo and used in an ad to sell clothes
Ukrainian photographer Dmitry Muravsky has been dismissed by his country’s Ministry of Defense after his viral combat photos became the center of controversy regarding whether or not they were staged.
t could be one of the greatest war photographs ever taken – or a fake.
A new wave of digital manipulation—and the blood sport of hunting for it—is roiling the world of photojournalism. Some of the industry’s biggest names and most established contests have been tarnished recently by accusations of tampering
“Looking at their faces, or knowing their names, in no way is an affirmation of their lives or their deeds, but only an acknowledgment of what unfortunately exists.”
The ubiquity of smartphones is changing our democracy, but does it give us a license to photograph and publish everything?
It might feel, with only words at one’s disposal, like there is nothing more to say, but it also feels here — in the unforgiving bluntness, the indictment and its response to the endless loop of the same insanity — like there was more to show.
The images of the Louisiana tragedy “were published by scores of outlets and had been on a video loop all day,” said Jim Rich, the editor of The Daily News. “There was never any thought of not using them.”
National Geographic’s top editors explain how to keep photography honest in the era of Photoshop—and why they’ll never move the pyramids again.
Todd Welvaert and Paul Colletti return to the podcast to discuss the scandal surrounding famous photographer Steve McCurry his altered images. Steve McCurry is world renowned for his National Geographic cover – ‘Afghan Girl’. The three of us had admired McCurry for years so we disappointed to learn but the And it turns out he – or someone who works for him – faked the content of some of his photos. The resulting fallout has sparked a debate on the internet about photo ethics and the wider implications.
Pressing McCurry for explanations when one already knows the reasons he used Photoshop — to create a more saleable, viewable image — evades more serious issues about who controls photography, and when and how to liberate it.
Despite the growing cynicism towards many of the ideas on which it has been founded, photojournalism is still often seen as possessing a basically moral character, its purpose still believed to be to reveal the world, contribute to public discourse, and in doing so perhaps also contribute to the mitigation or resolution of some of humanity’s problems. To accompany that moral agenda, photojournalism has evolved sets of moral codes, which in some contexts have been more or less informal, at other times more very strictly codified