by
Paul Martin Lester
From (c) 1999
In the October 1989 issue of FineLine, editor Robin Hughes
(1989) described a news picture that sparked controversy at the
Louisville Courier-Journal. In "Anatomy of a Newspaper's Decision,"
Hughes reported editor and reader reactions to a staff photographer's
photograph. The medium-distance picture shows an unidentified victim of a
shooting spree by a disgruntled employee of a printing plant. The gunman
killed 8 and wounded 12 with his AK-47 military assault rifle before he
turned a pistol on himself.
The picture by staff photographer Durell Hall Jr. shows a victim lying
on his back with arms outstretched. The image had been described by an
editor as "a photo that had to be used" and by a reader as "obscene." The
newspaper received more than 580 calls and letters, most opposed to the
picture's use on the front page. The victim's family filed a suit
"alleging that the newspaper intentionally and recklessly inflicted mental
distress on the family and that publication of the photo was an invasion
of their privacy." Several weeks later the suit was dismissed.
Although not invoked by name, editors and readers used all six of the
major philosophies to support their positions. C. Thomas Hardin, photo and
graphics editor, most likely used the Categorical Imperative philosophy to
defend his printing of the image. When Hardin saw the picture, he knew
that it was "a photo that had to be used. In 25 years, I don't remember a
situation in our coverage area where an event was so tragic or public."
Hardin continued, "Coupled with the national debate on automatic weapons,
the use of the photo was validated." Hardin used the journalism principle
of newsworthiness. A dramatic, local tragedy combined with a national
concern for gun control, compels the editor to use the picture.
The Utilitarianism philosophy was probably voiced by the editor and two
readers as a justification for printing the disturbing picture. Editor
David Hawpe said that one of the reasons the picture was published was
"the need to confront readers in our community with the full consequences
of gun violence." Don Frazier, president of the Graphics Communications
International Union, called the picture "obscene" and "was shocked to see
it." he later conceded that "maybe the picture did raise the consciousness
of some about gun violence like [the editor] said he meant to do." A widow
of one of the victims wrote, "I would want people to remember that my
husband died violently- senselessly-and I don't want anyone to forget it."
All three positions indicated that the public at large is served by the
picture's powerful message.
Editors could have selected a less graphically violent picture for the
front page, a largely Golden Mean position. Instead, the Categorical
Imperative philosophy most often prevailed. "The photo did what I wanted
it to do by showing the reality of what assault weapons are capable of,"
said Hawpe. "A less graphic photograph would not have been as effective."
Readers opposed to the picture were just as sure that their positions
were correct. The Veil of Ignorance was probably invoked by a caller who
asked, "How would you feel if it was your relative's body?" Most readers
used the Golden Rule philosophy. One caller said, "Showing a body is in
bad taste and insensitive to the victim's family and friends." Another man
said, "I kept thinking what's this going to do to his family? Why did they
have to show his face? They could at least put a shirt or a sheet over
him."
Hawpe admitted that some callers "thought we ran the photo just to sell
newspapers." Such a reaction comes from believing the publisher is guided
only by Hedonistic concerns.
The editors should have known that reader protests would be harsh. Six
of the requirements for a reader firestorm, detailed in chapter 4, had
been met. The picture came from a staff photographer, was a local story,
was printed on the front page, in the morning paper, and showed the
victim's physically traumatized body.
Your own reaction to the photograph depends on your own ethical
orientation. You might think that the picture is an example of
hard-hitting journalism and tells the story well. On the other hand, you
may feel that the photograph is much too gruesome to be published in a
newspaper. Which reaction is correct?
WHAT IS YOUR ETHICAL PERSPECTIVE?
A photojournalist who believes in the principles of telling the truth,
objectivity, and newsworthiness will take pictures at the scene no matter
how gruesome the subject matter may be. If a journalist relies on
professional principles alone, however, there is a danger that a subject
might be exploited.
A photojournalist who believes that victims of violence should be left
to bear their grief privately without the prying eye of a camera's lens
will not take pictures at a funeral or accident scene. If a journalist
relies solely on humanistic concerns, however, readers will be denied
information that is perhaps in their interest to know.
A photojournalist who believes that the sensitivity of readers should
be a first consideration will not publish such pictures. Newspaper readers
never complain about gruesome pictures that are not published. However, a
journalist runs the risk of filling the publication with "happy talk"
features.
An exploration of a photographer's ethical philosophy helps to decide
the best course of action during a controversial assignment.
Unfortunately, a survey of editors and reporters found that out of 153
respondents, only one referred to a "formal system of ethics outside the
profession-Christianity" when responding to ethical situations (Mills,
1983).
Stress Results in Burnout
A photographer who shoots too many stressful assignments that conflict
with an ethical philosophy runs the risk of catching career burnout. About
14 photographers were included in a survey of Ohio journalists. More than
36% of the 252 journalists sampled "had suffered from burnout, either at
present or in the past" (Endres, 1988, P. 9).
Many excellent and caring photographers have left the profession
because of job-related stress. In a News Photographer article,
Jerry Gay, a 1975 Pulitzer Prize award winner said that there is a need
for balance in a photographer's life. A photographer concerned only for
the next award-winning picture becomes, according to Gay, "insensitive to
other people and their feelings, especially at home. 'They stop being
people and start being as mechanical as their winder' " (Hertzberg, 1979,
p. 12).
Editors and photographers should work together to reduce one cause of
stress-contests. The importance of photographic competitions for raises
and promotions should be greatly reduced. A monthly clip contest in which
first, second, and third places are chosen without points being awarded
would relieve much of the stress associated with traditional contests.
Such a contest would award a photographer's effort and let others know
what content is most respected by members of the profession.
In other fields, job stress receives ample publicity with
company-sponsored support programs. The NPPA and media organizations
should recognize the problems that come from stress and offer support
groups to all journalists.
If a particular assignment violates a photographer's ethical code,
photographers should have the right to bow out gracefully. Some shooters
are best at taking sports or feature assignments. Other photographers have
worked for the coroner's office and enjoy driving around town listening to
the squawk of a police and fire radio scanner. A photographer should not
have to cover an assignment that makes him or her uncomfortable. No
reasonable editor will force a photographer to take a picture that is
against a photographer's ethical philosophy. Such a statement should be a
part of the NPPA Code of Ethics.
NEW TECHNOLOGICAL CONCERNS
When photographers and editors are asked to list their ethical concerns
for the future, a dominant issue is the manipulation of subjects or images
through computer, stage managing, or darkroom techniques. If a documentary
photograph is altered through computer or more ordinary means, or if a
subject is stage managed by the photographer, the publication has a
responsibility to its readers to inform them of the manipulation. Computer
manipulation cannot be detected by an unsuspecting and trusting public. A
photojournalist who believes in high ethical standards will not manipulate
a subject even slightly. For once a minor manipulation occurs, ethical
principles fall like a house of cards. Soon the photographer will justify
writing words on feet, double printing, lying about a subject's location,
and moving pyramids.
A STRENGTHENED ETHICS CODE
In the journalism profession, unlike the legal or medical professions,
there is a problem of enforcement. Although a photographer is often
criticized and sometimes fired for a blatantly unethical violation, he or
she cannot be barred from the profession. The NPPA should have a committee
for the ethics of photojournalism. The committee would sponsor research,
publications, lectures and workshops that would help spread positive
ethical behavior. The committee could also investigate instances of
questionable ethics with the power to censure offenders. An unethical
photographer could be banned from entering the monthly clip contest for a
determined number of months or even banned from the NPPA. The public could
then be informed that such behavior is unacceptable and not representative
of the membership as a whole.
The "Code of Ethics" that all members of the NPPA must sign should
include additional sentences:
* No photojournalist will intentionally add to a victim's grief for
monetary or award-winning gains.
* No photojournalist will intentionally violate a subject's privacy for
monetary or award-winning gains.
* No photojournalist will intentionally stage manage a subject or use
traditional darkroom or computer technology to alter the meaning of an
editorial picture. No editor will use traditional darkroom or computer
technology to alter the meaning of an editorial picture.
* No editor will subject a photojournalist to the pressure of forced
contest participation.
* No editor will demand that a photographer take a picture that is
against that photojournalist's personal ethical code.
The new ethics code should be printed and sent to all members of the
NPPA. The time has come for photojournalists to re-dedicate themselves to
ethical behavior by signing the new code.
Despite the renewed interest in ethical issues, there is evidence that
the profession has a way to go. In a survey mailed to managing editors of
newspapers across America, the respondents were asked to rank order the
test elements given to prospective reporters. The top two test concerns
were spelling and grammar. Ethical considerations were at the bottom of
the list. Only 15% of the editors reported that "their tests contained
material of an ethical nature" (Gwin, 1988, p. 104). Ethical issues need
to be higher in the minds of those who hire journalists.
It is the duty of photographers with more experience to advocate
ethical ideals to students and those new to the photojournalism
profession. It is not enough to say that because ethical behavior is an
individual decision, photojournalism ethics cannot be taught. Ethical
behavior is taught by helping a photographer understand the underlying
philosophies that shape a decision, by the ideals contained in a Code of
Ethics, and through a discussion of specific situations.
The goal of a photojournalism ethics discussion is not to make right
and wrong rules for every conceivable situation. Such a goal is not
possible. Real situations are as complex as life itself and the responses
are equally infinite. The goal is to help make sure that evaluations of
photographers' actions are generally in agreement. When there is
disagreement, the conflicting arguments should be based on sound ethical
principles.
PHOTOJOURNALISM: A LESSON IN HUMANITY
A photojournalist is a mixture of a cool, detached professional and a
sensitive, involved citizen. The taking of pictures is much more than
F-stops and shutter speeds. The printing of pictures is much more than
chemical temperatures and contrast grades. The publishing of pictures is
much more than cropping and size decisions. A photojournalist must always
be aware that the technical aspects of the photographic process are not
the primary concerns.
A mother crying over the death of her daughter is not simply an image
to be focused, a print to be made, and a picture to be published. The
mother's grief is a lesson in humanity.
If the photojournalist produces a picture without a thought for her
tragedy, the lesson is lost. But if the photographer cares for her loss,
is made more humane, and causes the readers to share in her grief,
photojournalism has reached its highest potential.
Despite its frustrations and low moments, the lesson of humanity is why
photojournalism is an extremely rewarding profession. For that reason,
photojournalism is worthy of the best thought and actions possible by its
participants.
Photojournalism An Ethical Approach
ALL RIGHTS RESERVED
A MURDER/SUICIDE
INVOKES SIX PHILOSOPHIES