这是Cousera中What is news课程中第二周的第四节。
记得以前看过一本书，描述过照片中的虚假。照片 编辑会为了加强或削弱某种信息的传播而去修改照片。
尤其在instgram，我也修改过照片，我改了颜色，所以它们不真实，所以过几年后，我再看这些照片时，它们就不是记忆了。
所以，真实的照片对于记录来讲，才是有意义的。
所以，照片，是有目的的。
教授推荐的照片源：Creative Commons license
以下是修改照片的里程碑事件和美国的国家新闻摄影家协会的指南
guidelines
Ethics for photojournalism developed more recently than general journalistic ethics, and the rules are often changing thanks to technology.
A breaking point came in 1989, in a fascinating way that marginally involved a Pulitzer Prize winning photo.
And this is quite the story:
That year, amateur photographer Ron Olshwanger won the Pulitzer Prize for spot-news photography. His photo had been published on the front page of the St. Louis Post-Dispatch newspaper. He said that he had just been a normal person, not a journalist, perhaps like many taking this Coursera specialization, before taking that photo and winning the Pulitzer. His winning photo was in a of Olshwanger taken at the paper by a staff photographer. But that was not the problem. The problem was a can of Coke on a glass table in front of Olshwanger.
The staff thought the Coke can was distracting and amounted to an inadvertent free ad for Coca-Cola. So, using a new imaging system called Scitex, the newspaper's director of photo technology REMOVED the can from the photo. (Ironically, the first photo processed on that computer had been the Pulitzer Prize winner. Fortunately for all concerned, that photo had not been manipulated.) As it appeared in the paper, the celebration shot was misleading for readers. It lacked the integrity of what had really happened. When the doctored photo appeared, journalists at the paper realized what had been done. They were transparent about it and told everyone of their mistake. Photojournalists began drawing ethical guidelines about how photos may or may not be manipulated.
For years, news photographs had been retouched. Often it was so they would print better on high-speed, low-quality newspaper presses. Jawlines would be sharpened and backgrounds would be inked out. In a few cases, two or more photos would be cut up and made into one. That kind of manipulation was crude and often detectable. It was not honest, but it was tolerated.
This new kind of digital manipulation was undetectable to readers and raised the issue of photo integrity to a new level. As photo technology continues to improve, making more things possible to more people, photojournalistic standards continue to tighten. The bottom line is to ensure that when people look at a news photograph, what they see is what really happened.
In the rules below, you will find principles about photo manipulation as well as other issues relevant to all kinds of journalism.
—Joe Grimm
Ethics guides from the National Press Photographers Association (U.S.)
- Be accurate and comprehensive in the representation of subjects.
- Resist being manipulated by staged photo opportunities.
- Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting one's own biases in the work.
- Treat all subjects with respect and dignity. Give special consideration to vulnerable subjects and compassion to victims of crime or tragedy. Intrude on private moments of grief only when the public has an overriding and justifiable need to see.
- While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events.
- Editing should maintain the integrity of the photographic images' content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects.
- Do not pay sources or subjects or reward them materially for information or participation.
- Do not accept gifts, favors, or compensation from those who might seek to influence coverage.
- Do not intentionally sabotage the efforts of other journalists.
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