Dennis Dunleavy photo Mesa Grande (1988).
We've been discussing the difference between chemical and digital processes in the visual journalism class. I thought it would be helpful to show an example of how photojournalists in the past used to burn down of the edges of a frame to enhance visual traffic toward the dominant subject. We used to refer to this technique as the "hand of god" and it can be traced back to a style used by photographic printers in the 1930s through the 1980s.
Today, with the introduction of PhotoShop and the ease in which images may be manipulated photojournalists and editors are more sensitive to such techniques.
Many newspapers and magazines have adopted guidelines for photojournalist using digital imaging software.
Kenny Irby of the Poynter Institute
Irby (2003) writes about policy adopted by the Charlotte Obersever newspaper that is worthwhile reviewing here as it pretains to our present conversation.
Charlotte Observer Photo guideline policy
- Adjustments to any image will be limited to standard industry "dodging and burning" practices to accurately reflect the scene which was photographed.
- No colors will be altered from the original scene photographed. This includes excessive changes in density and saturation levels.
- Backgrounds cannot be eliminated ("burned down") or aggressively toned under any circumstance.
- All original digital images must be downloaded into Pix Box for editing or review if necessary. When transmitting on location, original files will be downloaded upon return. All printouts for editing will be from original digital camera files.
- Cloning (rubber stamp tool in Photoshop) can only be used as a touch up tool for excessive dust or other imperfections.
- All photos prepared for contests will follow the Observer's photo correction guidelines and should be toned as originally corrected by the photographer.
- Photo illustrations are the only format where our correction guidelines do not need to be followed. The image must clearly be an illustration (not confused with a documentary image) and labeled photo illustration.
- Backgrounds of an image will not be dropped out or cloned without the specific approval of a photo editor during the page design process. These images should be bylined as photo illustrations.
Manipulating images in news work is hardly a new topic. Photojournalism has been concerned with post-production technology impacting the veracity of news images for a very long time. Nevertheless, in an educational context it is important to keep these issues on the radar.
In August of 2003, the North Carolina Press Photographers Association took away three awards given to Observer photojournalist Patrick Schneider the previous year. According to the Observer:
After an extensive internal audit of hundreds of Schneider's original images and published photos from his six years at The Observer, the newspaper's editors determined that in three photos he used aggressive toning techniques that altered colors and background shades in a way that was not consistent with the actual scene. Nothing was added or moved in any of Schneider's photos.
As Vin Alabiso of the Associated Press stated early on in the adoption of electronic photo manipulation, "The content of a photograph will NEVER be changed or manipulated in any way."
In order to maintain credibility, photojournalism students must be taught and reminded that this important tenet is a core value in the field.
Two recent
articles focus on how much toning in PhotoShop alters the content and
integrity of the image.
In "Seeing is no longer believing: of The Christian Science Monitor
does a good job of providing a context of how editors and photojournalists wrestle with issues of manipulation.
Further, Donald Winslow of News Photographer Magazine writes in "Three entries In WHNPA's "Eyes of History 2005" contest lead to new guidelines" about concerns over "juiced-up" images.
Sites I have Visited Recently: David Douglas Duncan: Online Exhibition from University of Texas at Austin. PhotoNow