Photographs Are the Screams of the World

Brooke Balzano
bb240415@ohio.edu

In a world full of tragedy, storytelling through journalism often begs the question of whether the story contains information that is crucial to the public or not. Photojournalism can highlight the important message behind the tragedy but can appear to dehumanize the scenario as well.

When tragedy strikes, it is important to get the facts out and show the public what is happening. A photojournalist can shoot as many photographs that they deem necessary, but that does not mean each photograph should be shown to the public. On September 11, 2001, tragedy struck the United States when two airplanes crashed into the Twin Towers in New York City. Soon after, a photograph of a man falling from the North Tower began to circulate and provided another visual of the tragedy.

Courtesy of Esquire, Photo by AP Photographer Richard Drew

Photos of the terror that filled the World Trade Center had already circulated through news stories and live news coverage provided a look into the horror people were experiencing that Tuesday morning. Richard Drew shot multiple photos of the tragedy that day, including stills of those who jumped from the tower. He followed the shot for a nine to twelve frame sequence and did so multiple times until the South Tower collapsed.

The photograph that was published did not show bodies crushed from the fall and covered in debris from the explosion but instead showed a decision someone made, portraying them with a sense of humanity in the final seconds of their lives.

If a photograph dehumanizes a situation, it is likely not going to be published. According to a NiemanReports article, the most persistent questions about how images of violence and death are framed are whether they dehumanize their subjects and whether they prioritize the suffering of certain groups over others.

In 1969, Ron Haeberle's photograph of murdered villagers in My Lai debuted on the front page of the Cleveland Plain Dealer on November 20. His photograph brought to light the tragedy that occurred in Vietnam and showed the truth of the massacre. His stills told the story of innocent civilians who had their lives ripped away from them, no matter of their age. Haeberle had no idea at the time that the photographs he had taken of some of these people would be the last they were seen alive, which struck him when he met a survivor of the massacre in 2011. 

Courtesy of TIME, Photo by Ronald L. Haeberle

It's said that a picture is worth a thousand words, but a photograph should not tell a different story than what happened. A photograph provides a visual insight into the event that allows the audience to recognize what is happening on a deeper level.

Photographers have to be careful when deciding what to publish and tend to rely on the three following rules:

1. Keep images in context - Closeup photos provide details but wide shots provide context. Although both images portray the truth, it is important to publish images that will help the audience understand the story better overall rather than provide more minute specific details.

2. Tone and degree are critical - How often is the most graphic image shown? If an image is going to be published that is considered graphic, the public needs to be warned. Stating that viewer discretion is advised provides the audience with insight that explains the image may be unsettling.

3. Weigh the public's need to know - The job of a journalist occasionally includes displaying a graphic or disturbing image to the public to provide a deeper insight into what is happening. Although the content of tragic stories may be unsettling, it is crucial to make an ethical decision of whether or not publishing the information is momentous to the public.