The Moral Ethical Guidelines Of A Shot Manipulation And The Dependence On A Machine

This essay will discuss the links between photography and censorship and how the photographer and the media uses this to distribute images of a atrocity to the masses, when is it appropriate to censor images and when is it not? Do ‘controlled’ images affect the meaning and how we view them or do they simply allow us to not get desensitized? Photojournalists play a key role in the media their role is to photograph the events that take place in front of them but is it always appropriate to keep taking that image, “a photograph passes for incontrovertible proof that a given thing happened” (Sontag, 1979, p. 5) photography provides the evidence that the event happened why should that be withheld from the viewer. There is always a reason why a photographer may self censor and this essay will explore this by looking at ‘Will Stacey 's’ Photographs Not Taken. In the digital age with everyone having a phone which is capable of taking a image citizen journalism has been on the rise since the invention of the smartphone allowing more and more people to document the possible news that could unfold in front of them, but are the images that come out of their smartphone more true to life and unfiltered due to the fact that they may not be educated in photography thus they don’t hunt the ‘perfect’ shot they simply recorded what unfolds in front of them, to look further at this the essay will look at Stuart Allans and Einar Thorsen’s ‘Citizen journalism Global perspectives’ to gain a

Lisa Henderson’s Access and Consent in Public Photography focuses in the cases and incidents. Henderson discusses the two sets of contingencies in the public photography. The first contingency focuses on the features of the social interaction between photographers and their subjects. The second contingency focuses on the organizational limits on doing photographic work, such as the division of labor in the newspaper production. She explains the meaing and the interpretation between the two sets of contingencies. In the quality of their relationship, the photographers and their employers control the production of the photographs. Some wealth people with more power are better subjects to enage in the photographs because theycan inhibits access

A reoccurring topic of the essays, concerning photography, discussed during the course is the future of professional photographers/photojournalists. Some believe that the easily accessible spread of amateur photography can and has put a strain on the works of professionals. However, with magazines such as National Geographic still in print after over a century, it raises some questions. Though the spread of information, and thus photography, has increased the platforms and need for professional photographers and photojournalists still exists.

Is it a news story that we expect to give truth? Or a National Geographic magazine photograph where we expect to see an accurate depiction of a location or monument? Or is the photograph a garden or beach scene? If the photographer is strictly trying to capture an image for the sole purpose of art, digital alterations should not be considered violations. If the image is for the purpose of a news story or a renowned magazine such as National Geographic or Time, then it would be deceitful to digitally alter images. If National Geographic expects non-altered photograph submissions from citizens, then they should respect the same code. If the evening news digitally alters images to portray a different story, they lose

Digital Snaps: the new face of photography has given me a good introduction and insight to the negative side of photo manipulation, the way that Sheehan writes is very clear and informative and this is what has allowed to gain such a wider knowledge around photo manipulation which will now help me with my further research by giving me a wider range of discussion to explore.

One of most international well-known photographers, Steve McCurry Photoshop’s scandal has sparked widespread controversy in worldwide. People argue about whether Steve McCurry’s use of Photoshop in his work is ethical or not. In my point of view, McCurry’s action is ethical, because he is not a photojournalist. Also, photography is a kind of visual art, editing is a part of it. Moreover, editing photos is a tradition that people already accepted.

The questions of honesty and ethicality begin when one starts thinking of direction for the article. Within the production process, there are many decisions that could affect the brand and reception of the magazine. Every possible decision carries weight and has the potential to possibly stir

After the rules, there are morals and ethics in journalism. One wrong photo could ruin a career that took years to acquire. Journalism isn’t just a job, but rather an art form. Journalism itself has massively grown from what it was ten or twenty years ago. With a forever changing world, it’s important to remember the rules and ethics of our industry.

Photography not only makes people remember good things, but also helps people record every day. According to Wheeler’s “phototruth and photofiction”, Photographs are always manipulated in many ways. For example, computer technology and smart phone can fix the pictures in this new century. First, people can use an app called Photoshop which can fake pictures easily. Photoshop has great features that can add everything into the picture wherever users want. Secondly, people use some softwares to make pictures more beautiful. In addition, Wheeler also gives us example in the Keeneth Brower’s article. He told about faked nature photos, such as New York daily news which showed President Bill Climton

During high school, I was a key member of a program that created and edited pictures and videos using identical software. The beauty of capturing the world in a single photograph is unmatched; as is the process of enhancing each image in order to create a one of a kind portrait. A simple photograph often resembles much more than what meets the eye. The capturing of a single moment is often overlooked as the ability to be self-aware and photograph the ultimate display at the perfect moment is not as straightforward as it might seem. Every picture, whether it’s portraying icy tundra, verdant rolling hills, or even a human being, provokes self-reflection while causing the audience to ponder the true significance of the image

Manipulation of photography is nearly as old as photography itself, with early photographs captured on glass and tin plates manipulated in the darkroom. However, in the past two decades, digital photo editing software such as photoshop and its ilk have become increasingly ubiquitous, making photo editing more accessible and bringing it to the masses. This has had an enormous impact on the field of photography, sparking debates over the core nature of photography, and completely changing how photography is conducted and used in the media. In particular, advertising and photojournalism have made extensive use of digital editing of photographs, modifying images to fit their messages. This paper will explore how the rise of digital photo editing

The National Press Photographer Association (2012) emphasizes on the need of serious and committed photojournalism that adheres to a code of ethics. They ask for accuracy, unbiased representations of events and subjects, respect, dignity and compassion for the subjects photographed as well as integrity of content and

Is the manipulation of news photos ever justified? Case study 8-D presented by Patterson & Wilkins (2014, p. 205-207) is concerned with an altered photograph that was ran on multiple publications and how the running of the photograph affected the credibility of those publications and the career of the photographer. I would argue that photo manipulation is almost never acceptable in the field of journalism since the alteration of photographs could greatly distort what the public perceives as truth and lead to various other ethical issues. should be allowed. In the end, all journalists have is their credibility, and the loss of that credibility is often the end of one’s career.

The ethics of digital photo manipulation is more important because the abuses are all the more rampant, whether it's making Sarkozy look as good as Obama does on vacation (as Paris Match did when it airbrushed Sarko's love handles until they disappeared) or Prada smoothing the skin of models' legs so they appear plastic or waxen in ads, like a mannequin's.

Photo Authenticity – the true essence of photography remains realism even as artistry and creativity continues to stake its claim. The desire to capture inspiring, authentic images has never been lost. This is all thanks to the people’s sense of belonging and need to associate with the familiar. One way to prove authenticity through photo shoot is to capture images or portraits that depict emotions or bring out stories. It is unlikely that the desire to bring out authenticity will not be fazed by a few alterations and retouching using software photo editors, filters and cameras to bring out the very best in photography. With photo authenticity gaining root, real people will be cast in the same manner as models and artists. For example, authenticity in portrait photography will remain firmly entrenched in the skin, body and emotions.