Ethics In Digital Photojournalism Essay

Photojournalism has long been considered to have a tradition of reflecting the truth. It has been a major element in newspaper and magazine reporting since the early 20th century. It was probably only about a century ago when people believed that what they saw in photographs was factual. This impact of visual image as seen by the viewer was based on the old belief that "the camera never lies". Wheeler says that photojournalism has "acquired a special standing in the public mind, a confidence that photo can reflect reality in a uniquely compelling and credible way." (Wheeler T, 2002, p. 3) This acquisition is formed by a creation of a powerful picture, which is the combination of both truthfulness and visual impact. "In general,

A photograph is a powerful tool for life. A single, unchanged image of reality can be utilized for a variety of situations. For one, one photograph could decide the lifestyle in the foreseeable future of a person that committed a crime. Furthermore, one photograph could reveal the horrors of a particular event. On another note, one photograph could hold heartwarming memories forever. In addition, one photograph could stir a controversy that will have people debating whether an entity is real or not. Overall, as Susan Sontag mentions in her book Photograph, “Photographs furnish evidence.”(Sontag); in other words, whether if it is, good, bad, or misinterpreted, one photograph can be used as evidence that something in fact happened or is real.

For this essay the works of Robert Draper, author of “Why Photos Matter,” and Fred Ritchen, author of “Photography Changes the Way News is Reported,” will be analyzed. Though both deal with the topic of photography, their take on the matter is very different. While Ritchen is a photographer who writes on “what professional photographers will be doing in the future,” Draper is a writer for the National Geographic writing on how the photographers of the magazine share “a hunger for the unknown.” Both writers, however, write on the topic of photographers having a deeper understanding of their subjects, Ritchen due to research and practice, and Draper because the photographers “sit [with] their subjects, just listening to them.” In both essays the need for a deeper understanding of the

While Postman points out the literal meaning of photography is “writing with light”; the two are from completely different universes when it comes to public discourse (p. 71). Unlike typography, photography cannot offer assertions, make propositions and offers no commentary. As long as it is not an altered photograph, it has no choice but to be true (p. 73). Thus, the photograph is only able to capture a moment in time and does not have the ability to comment on that moment. Our author contends, where language presents the world as an idea, the photographs only option is to show the world as an object (p. 72). Whereas in language, the correct context requires consideration of what is said before and after, in photography there is no before and after, only the snapshot of time. Therefore, by its very nature photography is context-free (p. 73). As photography immersed itself in the American culture author, Daniel Boorstin called this “the graphic revolution.” Postman is unequivocal on the point that the traditional forms of information, news, and even reality itself received an impairment by this new focus on images. For examples, he cites billboards, posters and advertisements. He points to magazines Life, Look and several newspapers. The picture was the focal point, and the writing was forced to take a less dominate roll and sometimes done away with altogether (p.

The reader is able to construct his or her thoughts by observing the small keys in each photo. Some of these keys are the use of color, setting, expression and focus in the scenery and objects around.

The human eye finds things of three appealing; this is why many photographers such as Bryan Peterson use the Rule of Thirds. Shapes, curves, and patterns make a photo more interesting because they create dimension in a photo. An example of this is if a photographer goes to the market and takes an apple and places it on top of the pile of oranges. The apple stands out against the oranges’ patterns, shapes and curves. A way to create a more dynamic image is to “change the angle from which you shoot.” (picturecorrect.com). This is called angle of attack and photographers use it often because it can change the look of a photo dramatically. Shooting many pictures of flowers may get boring and repetitive after time, but if a photographer changes his shooting angle, he can create a completely different photo. Taking visually attractive photos requires a variety of skills to compose the

When a person does become preoccupied with whatever it is they are doing, so in this case photojournalism, take into precautions as to what matters most and sometimes it takes being in the same shoes as a consumer and really think what they would want to see and read about. The images from Ephron’s, “The Boston Photographs” is all about thinking about how others might react to a certain image and before even thinking of publishing it, think about the newspaper boy who has to distribute these papers with graphic images printed on them. If a consumer were to ask the newspaper boy explain the image and why it was printed for a reason, there really would have to be a valid reason as to why it has been

Teju Cole, in his essay “Against Neutrality,” dissected the tones behind photography- which he believes are thought of as unbiased towards the subject. The power of words and of photos is crucial to Cole’s essay. He states that images can “make a grim situation palatable” because of the photographer’s craftiness in selection (Cole 1). To anyone who isn’t an experienced photographer these tricks can be hard to see but Cole provides further insight from the historian, John Edwin Mason. Expectantly, Mason sheds light behind the misconception on photography, how the “manipulation in photography isn’t really about Photoshop or darkroom tricks”, but the style, angle and other aspects of taking photos (Cole 1).

Quinn expresses a fundamental concern with the validity and objectivity of journalism with the coming of the digital age, and the increasing role that digital/information technology plays in media that reports or represents reality. Quinn begins his 2004 paper with the mention of the transition of non-digital/traditional photography into mainly digital photography with respect to journalism. More than just the changing of the photographic platform and format, Quinn notes the role that computer software that specializes in photographic manipulation in journalism. Early on, he contends, "Technical advancement has helped photojournalism be more effective in may ways, but has also created ethical challenges in making deception expeditious and less transparent." (Quinn, 2004, 1) The article explores this ethical quandary. Digital technology, photographic software, and digital manipulation are tightly integrated into modern photojournalism, among many other industries and fields. Quinn challenges readers to consider and explore the ethics of photographic manipulation and the implications upon perception. He presents the digital manipulation as having a positive and use; furthermore, that at this point in history and in the profession of photojournalism, it is unavoidable. Quinn clearly additionally presents the issue as loaded with negative ethical implications and

the points that are trying to be elaborated on coincide with the camera and the way

In the last few years, the number of cyber-attacks happening in the world today has increased significantly and it is something that is not going to go away any time soon. In the most recent case that has happened, a group called the Impact Team has claimed to have complete access to Avid Life Media’s database for the website Ashley Madison. Throughout this entire case there are very few things that are ethical and legal. Besides, Avid Life Media pursuing the hackers for stealing private data, the only other action that I believe falls into this category are users pursuing legal action against Ashley Madison now for not fully deleting their data. If Ashley Madison had actually deleted most of their user’s data and only kept the metadata,

Although Sturken and Cartwright claim it is quite easy to fall for the misconception that photographs are “unmediated copies of the real world” (Sturken & Cartwright, 17), this is no longer true, if it ever was. While cumbersome, even before the advent of image editing software, it was possible to modify photographs. Furthermore, in contemporary society, we have completely lost faith in mass media representation; rarely do people expect images to be completely unmodified anymore. This is especially visible in western culture since people are pressured to conform into highly specific aesthetics where even a “natural” look is artificially crafted with makeup and digital filters. Even disregarding direct manipulation to a print through methods such as Photoshop, photographs are manipulated in such obvious ways, it almost seems absurd to point it out. The framing, lighting, and positioning are always adjusted by the photographer. Therefore, people themselves are a type of manipulation; a representative filter through which biases are imbued. In effect, Sturken and Cartwright’s conclusion that all camera-generated images bear an “aura of machine objectivity” (Sturken & Cartwright, 16) stemming from “the … legacy of still-photography” (Sturken & Cartwright, 17) is

On June 29, 2007, Apple Inc. launched sales of the iPhone at Apple and AT&T stores across the country. Many hours earlier, enthusiastic customers lined up outside stores to get the first iPhone in their hands. The iPhone is more than just a breakthrough mobile-phone device. It is a strategy that may expand Apple's sphere of influence. Apple elegantly combined a mobile phone, mp3 player, and personal digital assistant (PDA) on the same machine characterized by its unique, innovative design.

In the early years of computers and computerized technology, computer engineers had to believe that their contribution to the development of computer technology would produce positive impacts on the people that would use it. During the infancy of computer technology, ethical issues concerning computer technology were almost nonexistent because computers back then were not as multifaceted as they are today. However, ethical issues relating to computer technology and cyber technology is undeniable in today’s society. Computer technology plays a crucial role in all aspects of our daily lives. Different forms of computer technology provide unique functionalities that allow people to perform daily activities effectively and efficiently. In

What is a photograph? The simplicity of taking a photograph leads many to ponder its artistic value. Yet, it is undeniable that there are some photos that cause an emotional reaction deeper than simply observing a recorded point in time. Surely, there are photographs that cause more reaction than some modern art pieces. There seems to be two types of photographs. The first classification is the ‘time capture’ photo – an image with the sole purpose of recording a particular event or point in time. The second nature of a photo carries a ‘deeper meaning,’ which has the ability to change the observer’s mood and cause a reaction. But what distinguishes these two varieties? There are a