The Underpinnings of Ethical Considerations in Journalistic Photography

Hayley Hammerstrom

hh620514@ohio.edu

Photography provides a sacred platform on which the substance of the human condition can be displayed. It gives color, concreteness and life to inherently conceptual experiences, such as expressions of rage, acts of charity and circumstances of sorrow. In the arena of photography, sadness is no longer a flitting hummingbird unavailable to the sensations of human beings. Rather, it is a war-torn village, a sports team after failing, or a fallen soldier's mother.

This anthropomorphization of life's abstractness is what makes photography so valuable in storytelling. Through visual displays, media consumers can more deeply connect with the material. Unlike the written word, photographs mimic the way people move through the world, using the senses as the basis for understanding. But, is this aspect of photography also its greatest ethical predicament? 

The following sections detail the problems that arise as photographers explore the world of human narratives. The list is by no means exhaustive, but it is a starting place for photographers to delve into the ethics of photojournalism. 

Image Distortion

Image distortion is the act of altering an image so that the image is no longer identical to its original form. In many ways, image distortion can be a great option for artists, marketers, graphic designers, and other professionals to convey messages to an audience. For instance, if a graphic designer needs to craft a infographic, then the ability to resize and filter an image may be helpful for the project. 

The issue with image distortion arises when such alterations are deceptive (intentionally or non-intentionally) and do not preserve the truthfulness of the original image. The classic example of beguiling image distortion is Photoshop for women's advertisements. These dishonest pictures not only deceive the consumer, but they also present the image as if it is a reflection of the truth.

In the digital age, people have become more savvy about such Adobe-enhanced visuals, but the foundational issue with image distortion is the ethics of preserving reality in pictures. Truthfulness is the backbone of all the various journalistic codes, so the lack of authenticity in distorted images directly conflicts with such presupposed journalistic values. Journalists must preserve the integrity of the profession by avoiding the temptations of image distortion so that the truth may prevail. 

Fake Images

"Fake News" has recently became a hot topic in the discussion of media ethics. With so much access to content via social media, how can consumers know what is genuine and what is fake? Moreover, the media must ask itself if it feels a responsibility to not only produce truthful content but to help consumers navigate the murky digital world. 

With the rapidly decreasing trust in the media, the dissemination of accurate photographs is more vital to media credibility than ever before. If journalists' goal is to preserve the integrity of the craft, then visuals must be truly representative of reality. Sensationalism via false images will feed the growing anti-media sentiment in America. Improving the public's trust in journalism can only occur if truth champions over "clicks" or "likes." 

Humility

One of the primary missions of journalists is to communicate narratives to an audience. The task of storytelling does not come without ethical considerations, however. Humility in journalistic photography has been a delicate issue since its debut in printed works. One infamous example being photographer Stanley Forman's Pulitzer Prize winning Fire Escape Collapse (pictured below).

www.stanleyformanphotos.com/pulitzer.html

Forman's notorious image encapsulates the ethical issues associated with photojournalism. One can see how striking the photograph is, how it clearly paints a picture of stark human emotions. But, one must distinguish whether an incredible image is worth the harm it may perpetuate. 

In the case of Fire Escape Collapse, Forman may have forever preserved the fear of the people jumping from the apartment window. This record of human suffering could forever haunt survivors and the victims' families and friends. Was the Pulitzer Prize worth the collateral damage? This is the type of question that photographers must ask themselves before publishing sensitive images.

An effective technique for ethical dilemmas involving humility is asking oneself, "If that was a picture of me or someone I loved would I think it is justifiably balanced with the public's right to information?" Through empathy and careful review, humility can be retained in photography, thus increasing the ever-important concept of trustworthiness in the media.