Video footage shows a young photographer posing a woman in front of a makeshift memorial: is it bad journalism ethics, or just the way it’s done?
via the Guardian: http://www.theguardian.com/media/2016/mar/25/staged-photo-brussels-attack-memorial-ethical-debate-photographers
Video footage shows a young photographer posing a woman in front of a makeshift memorial: is it bad journalism ethics, or just the way it’s done?
TIME’s latest international issue features a portrait of a rape victim of the civil war in South Sudan. The magazine’s choice of photo is sparking an
via PetaPixel: http://petapixel.com/2016/03/17/time-rape-victim-cover-photo-slammed-exploitive/
Photographed by renowned war photographer Lynsey Addario, who was herself a victim of wartime sexual assault after being captured by the Libyan Army in 2011, the portrait shows a Sudanese woman named Ayak who was repeatedly raped by soldiers during her country’s conflict
Imagine seeing a photograph of a baby zebra sleeping peacefully atop the head of an adult tiger. Sounds crazy, right? Now imagine that same crazy image
via PetaPixel: http://petapixel.com/2016/03/11/bug-photography-ethics-bug/
The absence of ethics in macro photography is my single biggest frustration in photography. Some photographers are receiving great accolades for “nature” images that are nothing more than artistic composites or manipulated natural scenes.
Yet issues around heavy post-processing remain
via Time: http://time.com/4243751/world-press-photo-manipulation/
This year, out of 174 finalists, a slightly lower 16% of all final entries were disqualified, seven were disqualified for cloning issues and 22 for extreme processing
William Gedney once said he was not “a social problem photographer.” Working in places like Appalachia and Northern California, he challenged preconceived notions to find enduring — and unexpected — images.
Urban California and rural Appalachia were amply documented in the 1960s, even if the usual narratives were often polar opposites: the Bay Area, with its free-loving, psychedelic hippie counterculture or Kentucky with its gritty backwoods scenes of despair and poverty.
Nikon Singapore posted an announcement on its Facebook page yesterday, congratulating a photographer named Chay Yu Wei for capturing a perfect shot of an
via PetaPixel: http://petapixel.com/2016/01/29/nikon-awards-prize-to-badly-shopped-photo-hilarity-ensues/
Nikon Singapore posted anannouncement on its Facebook page yesterday, congratulating a photographer named Chay Yu Wei for capturing a perfect shot of an airplane framed by a ladder in Chinatown.
Photographers quickly pointed out that the photo is clearly the result of editing, and sarcastic comments soon flooded the post.
The Accountable Journalism database compiles international codes of media ethics from around the world and is the largest resource of its kind. This database can be sorted by keywords or by using the advanced search. Codes can be selected by type of organization, topic, region, year created or updated and country
To further the conversation on these ethical concerns, Lens asked several photographers and editors to comment on the issue and to share their experiences in the field
Donald Trump is lashing out at an Associated Press photographer over photos of empty chairs at a Trump speech in South Carolina. The presidential
via PetaPixel: http://petapixel.com/2015/09/25/donald-trump-calls-photojournalist-a-fing-thief-over-photo-of-empty-chairs/
“The photographer [Mic Smith] is a f***ing thief,” Trump said in an interview with The Daily Mail. “Tell them they’re a fraud, whoever took it. I just got killed on that thing, and it was just really unfair. It’s godd**n unfair.”
“I can’t ever unsee that.” Many of the people who watched that video can’t ever unsee that. And surely, the photographer who captured that live-stream of blood and body parts and hysteria can’t ever unsee that, either.
Was it worth it?
“Sometimes it’s gratuitous for the media to show images of death,” McBride said. “But sometimes it’s absolutely the most responsible thing journalists could do. Europe is in the midst of a dramatic, historical moment that will forever alter its future. The migration of refugees from the Middle East will change the continent’s identity. The image of this drowned Syrian boy is about so much more.”
Images by North Vietnamese war photographers that were featured in a book and exhibit have been found to have been manipulated.
via Lens Blog: http://lens.blogs.nytimes.com/2015/09/02/questions-raised-about-vietnam-war-photos/?module=BlogPost-Title&version=Blog
Writing on his Mayday Press blog, the photographer Jorn Stjerneklar raised the issue of the previous book by Mr. Niven and discovered the manipulation of several images. A subsequent investigation by the New York Times Lens blog, including interviews with several North Vietnamese photographers and image analysis by Hany Farid, a professor at Dartmouth who specializes in photo forensics, confirmed that two images (slide one and the inset here) were digitally altered in a way inconsistent with New York Times standards. Corrections have been added to the original post.
This appeared recently on Change.org to elicit signatures for a petition titled: No more drownings. Immediate sanctuary for those fleeing…
via duckrabbit: https://www.duckrabbit.info/2015/08/drowning-in-a-sea-of-photographs/
crucially this is not just a nameless floating migrant/refugee. This is Rukhsan Muhammed. She has a name, had a life, and may in fact have managed to create a new life for herself: this image was taken in 2013
Publications in the United States and Europe gave readers a killer’s vantage point, but there was condemnation of their decisions.
When newspapers and tabloids around the world followed suit, publishing still images taken from Mr. Flanagan’s footage on their front pages, readers and journalists were outraged. They noted that the papers had done just what the gunman wanted.
Photography has been used in many ways throughout its history: as documentation, propaganda, keepsake, etc. But never has it been so frequently used as a weapon as in the Information Age. As visual communication becomes the de facto language of social med
via PhotoShelter Blog: http://blog.photoshelter.com/2015/08/the-photo-as-weapon/
Photography has been used in many ways throughout its history: as documentation, propaganda, keepsake, etc. But never has it been so frequently used as a weapon as in the Information Age. As visual communication becomes the de facto language of social media, we can only surmise that we will see more and more examples of using photography for nefarious purposes.
Earlier this morning, CNN announced that it would show the video once every hour. The news organization published it online with a warning. The New York Times has not shared the video but did link to a YouTube version of it in the main story.
For about a month last year, posters advertising a touring art exhibition called Material Evidence. Syria. Ukraine were nearly impossible to avoid in New York City. The show itself stunk unmistakably of Russian propaganda, and recently unearthed emails su
via Gawker: http://gawker.com/emails-link-kremlin-troll-farm-to-bizarre-new-york-phot-1725347179
For about a month last year, posters advertising a touring art exhibition called Material Evidence. Syria. Ukraine were nearly impossible to avoid in New York City. The show itself stunk unmistakably of Russian propaganda, and recently unearthed emails suggest that it was financed in part by the Kremlin’s online propaganda agency.
I used to believe that photojournalism represented a platonic ideal of veracity, but this naïve notion has eroded. The cause of this loss of innocence isn’t limited to the high profile manipulation that has dogged the industry, but also the realization th
via PhotoShelter Blog: http://blog.photoshelter.com/2015/08/bruce-gilden-the-absence-of-empathy/
I confess to being previously enamored of Gilden’s style – if nothing else, I have respect for people who do “their thing” for years and years. But after reading May’s article, and seeing Gilden’s images shot over a paltry two days, the love affair is over. Gilden’s images are nothing more than caricatures. His essay is a visual freakshow that says little about the place or the people, and more about creating provocative clickbait. If his intent is to trigger disgust, then mission accomplished
Of course, we would hope that the migrant diaspora in our media diet would reflect the greatest realism, but that’s a whole different thing than the migrant telling his or her own story, taking his or her own pictures, and controlling his or her own narra
via Reading The Pictures: http://www.bagnewsnotes.com/2015/08/the-main-thing-the-insta-migrant-had-going-for-it/
To be perfectly honest, I think we’re better off for this controversy, if just to punctuate this point. For the past year or so, a popular story concept in photojournalism — to the extent it might even qualify as a genre — has been that of “migrant portraiture.” Some of it has been unusually empathetic. Some of it has engaged provocation. Some has gone an overtly artful route. Some, to be honest, has been cringeworthy. Here is a sampling with links, and you can consider the spectrum for yourself:
Michael Kamber is a photojournalist who has been working around the world since 1986; he has traveled to Iraq, Afghanistan, Liberia, the Sudan, Haiti,
via PetaPixel: http://petapixel.com/2015/08/04/interview-michael-kamber-on-photojournalism-ethics-and-the-altering-of-images/
Today you just hit the filter button on your Instagram, and you’ve got this wildly impressionistic photograph that is more of an illustration. We need to make it clear. What is an illustration and what is photojournalism? What is an illustration and what is documentary photography? I think that idea is slipping away, and I think that it is more prevalent in Europe where the photographer is an artist and he has his artistic vision. I think that takes us to some very different places.