1. Introduction
A lot of essays have been written, when it comes to the approach of codes of ethics in journalism. In globalizing times, where the Internet serves as an increasing news source, it is of importance to rethink the existing codes of ethics and to frame them in a broader, transnational context.
If this, sooner or later, leads us to a Global or European code of ethics, has also been one of the main topics in the media communication research field, as Tiina Laitila for example defines common journalistic codes of ethics within the European countries.1
But whereas common ethical rules and guidelines regarding journalism in general seem more clear and discussed in several studies, ethical codes in terms of photojournalism are still not defined in a normative way. Especially in times of the digital age and its mistrust it brings concerning digital photography, there is an increasing need of clear ethical guidelines for photojournalism.
To demonstrate the importance of codes of ethics in photojournalism, the impact visual images possess, will be discussed and reconsidered in the beginning. On the basis of these ideas, this essay will examine whether or not ethical codings exist in the field of photojournalism with a special emphasize on Germany.
It will be analyzed, if a German code of ethics can be defined, or if a broader, transnational code of ethics can be assigned regarding photojournalism.
As a concluding part, the conduct of photographic codes of ethics will be discussed with the help of single conflict images.
If a photojournalist respects the rules of codes of ethics or not, doesn't make his or her work often easier. Especially when it comes to war or conflict reporting, journalists often have the dilemma about how to behave as a photographer in critical situations.
Images, as for example the worldwide discussed picture of the starving child in Sudan taken by Kevin Carter in 1993(2), made us aware of the ambivalent decisions journalists often need to make. In comparison to print, news photography is morally challenging and often difficult to judge, considering the obvious participation of the photojournalist. The taken picture in its visual expression clearly interweaves the journalist in a more public way than it confronts print journalists. Publishing a picture with your name, shows actually that you, as a journalist, have been on location, which demands immense responsibility and commitment.
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Table of Contents
1. Introduction
2. The Power of Photography
3. Codes of Ethics in Photojournalism
3.1 Codes of photojournalistic Ethics
3.2 Codes of photojournalistic Ethics in Germany
4. The Conduct of Ethics and Photojournalism
4.1 Conflict reporting
5. Conclusion
6. References
Research Objectives and Themes
This paper examines the existence and application of ethical codes specifically within the field of photojournalism, with a focus on the German media landscape. It explores whether universal ethical standards for photographic representation exist or if they are primarily subsumed under broader journalistic guidelines, while addressing the challenges posed by the digital age and the potential for image manipulation.
- The power and influence of photographic imagery in media.
- The distinction between general journalistic ethics and photojournalistic ethics.
- National versus transnational approaches to photographic ethical standards.
- The ethical dilemmas inherent in conflict reporting and image manipulation.
- The intersection of viewer perception, context, and photographic truth.
Excerpts from the Publication
3. Codes of Ethics in Photojournalism
The vision of reality Goldsmith describes, tries to make us aware of the complexity and subjectivity photographs contain and help us to understand how challengenging decisions in photographical ethics may be. To trip the shutter can hold a lot of responsibility, which people are often not aware of, thinking again of the mentioned example of the child in Sudan.
Generally it can be said, that two conditions are necessary for the use of ethics, which are „choice and commitment. Ethics demands choice. Where there is no choice, there is no room for sensible ethical judgements.“
The second precondition of ethics is the one of a commitment to do what is right. But this is already one of the main defining problems. What is right?
Considering, that photography still belongs to art and cannot only be seen from an informative perspective, creating rules of saying what is right and what is wrong is hard to define, especially if it is not legally binding in any way.
Chapter Summaries
1. Introduction: Outlines the necessity of rethinking ethical codes for visual media in the digital age and defines the focus on photojournalism in Germany.
2. The Power of Photography: Examines how photographic images shape reality and audience perception, while acknowledging the inherent subjectivity of framing.
3. Codes of Ethics in Photojournalism: Explores the philosophical foundations of ethical behavior in photography and the lack of distinct, legally binding codes for visual practitioners.
3.1 Codes of photojournalistic Ethics: Discusses classical ethical theories and the specific attempts by organizations like the NPPA to provide precise guidelines.
3.2 Codes of photojournalistic Ethics in Germany: Analyzes the German Presserat guidelines and the common practice of relying on general journalistic codes rather than specialized ones.
4. The Conduct of Ethics and Photojournalism: Addresses the practical difficulty of applying ethical principles when composing and publishing images.
4.1 Conflict reporting: Investigates the moral dilemmas journalists face when covering war and conflict, specifically regarding digital manipulation and the impact of symbolic imagery.
5. Conclusion: Summarizes that while ethical codes exist, they remain broadly defined, placing a high degree of responsibility on the individual practitioner.
6. References: Lists the sources and academic literature consulted for this analysis.
Keywords
Photojournalism, Ethics, Media Responsibility, Digital Manipulation, Presserat, Visual Communication, Conflict Reporting, Journalism Standards, Subjectivity, Image Ethics, Media Institutions, Truth in Media, Symbolic Imagery, Professional Guidelines, Journalism Values
Frequently Asked Questions
What is the primary focus of this research?
The research explores the ethical frameworks surrounding photojournalism and examines how these codes are structured and applied, particularly within Germany.
What are the central themes of the document?
Key themes include the subjectivity of photographic images, the responsibility of media practitioners, the impact of digital manipulation, and the role of press councils.
What is the main research objective?
The goal is to determine if specific codes of ethics exist for photojournalists or if they are integrated into general journalistic practices, and to highlight the moral challenges inherent in visual reporting.
Which methodology is used to analyze these issues?
The author uses a qualitative approach, combining literature review on ethical philosophy with the analysis of specific media guidelines and case studies of famous photographs.
What does the main body of the paper cover?
The main body examines the power of photographic images, discusses the lack of specialized ethical codes, compares international and German standards, and evaluates the ethical implications of conflict reporting.
Which keywords best describe this study?
Central keywords include photojournalism, ethics, media responsibility, digital manipulation, visual communication, and truth in media.
Why is the "starving child in Sudan" example relevant to this study?
It serves as a recurring example of the moral dilemma photographers face regarding their responsibility to subjects versus the goal of documenting critical situations.
How does the author view the role of the "German Presserat"?
The author notes that while the Presserat provides general guidelines for the press, these are often general in nature and require more precise interpretation regarding the specific technical manipulations of digital images.
What is the conclusion regarding the objectivity of photography?
The paper concludes that photography is far from objective; it is an interpretive human act that requires individual moral commitment from the photographer.
- Arbeit zitieren
- Katja Möhl (Autor:in), 2010, Codes of Ethics and Photojournalism in Germany, München, GRIN Verlag, https://www.grin.com/document/164556
