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Photojournalism: Its Development and The Impact of Citizen-led

Journalism on its Evolution.

By

Rosie Hartley

1200804

Submitted to Norwich University of the Arts on 30th January 2015, in partial

fulfillment of the requirements for the degree of BA (Hons) Photography.

Copyright 2015 Rosie Hartley.

 

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Abstract

This research report looks at the ethics within photojournalism, using case

studies of Steve McCurry’s ‘Afghan Girl’ (Fig. 2), Kevin Carter’s “Sudanese

Girl’ (Fig. 3), Nick Ut’s ‘The Terror of War’ (Fig. 1) and citizen-led media sites,

such as LiveLeak, with an aim of understanding photojournalism’s

development and evolutionary changes. The report has a focus on

manipulation of imagery within the mainstream media, from staged video by

CNN to the release of images that contain incorrect information with the New

York Post and attempts to answer the question about why we are shown

manipulated imagery. The report found that the manipulation and censorship

of imagery within the mainstream media has influenced the audience into

becoming the journalists and, due to the quality of their images, amateur

photographers and ‘iPhoneographers’ are replacing professional

photojournalists, but that also found that citizen-led journalism isn’t without its

own censorship or manipulation issues.

 

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Table of Contents Chapter One: The Ethical Implications of Photojournalism   7  

Nick Ut’s “The Terror of War”   8  Steve McCurry’s “Afghan Girl”   9  Kevin Carter’s “Sudanese Girl”   11  

Chapter Two: Amateur versus Professional   13  Chapter Three: LiveLeak – Providing information or breaching privacy?   18  Chapter Four: The Audiences Understanding of Visual Manipulation   23  Conclusion   28  Bibliography:   29  

 

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Table of Illustrations

Figure: 1 Title: The Terror of War Author/Artist: Ut, Nick Year: 1972 Available: http://www.talkvietnam.com/2014/11/nick-ut-honoured-at-lucie-awards/ Date Accessed: 11/12/2014

Figure: 2 Title: Afghan Girl Author/Artist: McCurry, Steve Year: 1984 Available: http://www.shootingfilm.net/2012/11/afghan-girl-story-of-most-recognized.html Date Accessed: 11/12/2014

Figure: 3 Title: Sudanese Girl

 

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Author/Artist: Carter, Kevin Year: 1993 Available: http://en.wikipedia.org/wiki/File:Kevin-Carter-Child-Vulture-Sudan.jpg Date Accessed: 09/01/2015

Figure: 4 Title: Lessons from the Storm Author/Artist: Lowy, Benjamin/Time Magazine Year: 2012 Available: http://topics.time.com/hurricane-sandy/ Date Accessed: 20/01/2015

Figure: 5 Title: Untitled Author/Artist: al-Otaibi, Abdul Aziz Year: 2014 Available: http://www.buzzfeed.com/ryanhatesthis/the-viral-image-of-the-syrian-boy-sleeping-between-the-grave#.gp9bXNwW7 Date Accessed: 09/01/2015

 

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Introduction

The privilege of ethical, un-manipulated imagery in media is one that not

many people can say they have experienced, however with the uprising of

citizen-produced journalism and photojournalism this appears to be changing,

affecting what is being seen both on user-updated websites and in the

mainstream media. This report will initially look at the ethical implications of

photojournalism by studying Nick Ut’s ‘The Terror of War’ (1972), Steve

McCurry’s ‘Afghan Girl’ (1984) and Kevin Carter’s ‘Sudanese Girl’ (1993), and

then at comparing professional photographers to amateur photographers and

iPhoneographers and the effects that the latter has had on photojournalist’s

jobs. It will then look at the rise of freedom of speech websites such as

LiveLeak and how they’re redefining the media by providing an uncensored

look at the world around us and, finally the audiences understanding of

censorship and manipulation of imagery in the mainstream media. By looking

at these factors, this allows us to begin the conversation that what is being fed

to us as truth needs to be questioned as it is often tailored, either to fit a

political agenda or for sensationalism.

 

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Chapter One: The Ethical Implications of Photojournalism

“Never expose someone to ridicule and humiliation; they have to live with the

fallout the photograph will bring, whereas you may have moved on to the next

tory and suffer no consequences.” (Demotix, 2014)

The power of journalism and photojournalism is one that is almost

unparalleled, not much else can whip people up into a frenzy than a well-

thought headline or front page image, whether this be coverage be good,

such as in Stephen Sutton’s case, the nineteen-year-old suffering from

terminal cancer who managed to raise £5m for the Teenage Cancer Trust

(Cooper, 2014. Ellis, 2014), or bad in the case of the Rupert Murdoch owned

New York Post who published images of who they believed to be the main

suspects in the April 2013 bombing of the Boston Marathon, despite the

authorities not yet having released information on who they deemed to be

suspects (Fung and Mirkinson, 2013). The image highlighted two people the

New York Post believed to be the men in an image being passed around by

the Authorities and landed the subjects in desperate bid to prove their

innocence, with Salah Barhoun, a seventeen-year-old, telling ABC News that

he went to the police to clear his name (Rahmanzadeh, Leong, Riley, Leuci

and Schwartz, 2013). In a clear exploitation and twisting of the truth, The New

York Post landed in hot water amidst claims of irresponsible journalism,

having already been criticized, not only for claiming that a Saudi man was

responsible for the bombings, who later turned out to have nothing to do with

them, but also for misrepresenting the numbers of the amount of people who

 

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died in the attack (Fung and Mirkinson, 2013). Irresponsible and unethical

journalism can change the way the subject is perceived, but when the subject

can make or break a photojournalist’s story, the discussion of ethics in

photojournalism and where the lines blur on exploitation can be a difficult one.

Nick Ut’s “The Terror of War”

(see fig. 1)

Winning the Pulitzer Prize in 1972, Nick Ut’s photograph of the napalm

bombing of Vietnam was one of the most horrifying images of the Vietnamese

war. The image depicts nine-year-old Kim Phuc in the center of the frame,

running naked through a group of clothed children and armed soldiers and

crying for help with a huge black cloud of smoke behind her. It was revealed

that during the fighting, South Vietnamese fighter planes mistook the refugee

camp below for ‘Viet Cong’ fighters and started dropping bombs. As the

planes drop their final bombs on the refugee’s, Ut remembers “I said, 'Oh my

God, the napalm.' They had bombed all morning, but not with napalm.” (Ut,

2014) Published through the Associated Press (AP) to newspapers

 

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worldwide, including the front page of the New York Times, the image forced

people to address a difficult question about whether photojournalists should

help their subjects. There was, and still is little information available to help

inform photographers on how to help their subjects during the scenes they are

photographing. Whilst helping their subjects might help save lives, in doing so

there is a risk that they would become “complicit with their subject, and

remove some of the distance necessary for journalistic objectivity.” (Bersak,

2006) This didn’t stop Ut however who after snapping this photograph

immediately put his camera away and went to help the little girl, transporting

her to the nearest hospital and now remains in contact with Phuc and her

family in Ontario, Canada (Jones, 2014).

Steve McCurry’s “Afghan Girl”

(See Fig. 2)

 

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Steve McCurry’s ‘Afghan Girl’, taken in a refugee camp in 1984 and published

on the front page of The National Geographic, sees the image of a young,

unknown, Pakistani take up the entirety of the frame. Her piercing eyes

capture and hold the audience’s attention to the point where not noticing her

torn clothing and dirty face could almost be forgiven. The image “became the

National Geographic Society's most recognized photograph in its 114-year

history” (The Washington Post, 2001) The image of the girl affected by war

sling-shotted McCurry’s career, as he quickly became one of the best-known

photographers of our time, but this wasn’t without backlash as he was often

confronted with people accusing him of exploiting the girl (Recka, 2012). In

2002, when the woman was eventually found and named as Sharbat Gula, it

was revealed that she was deeply unhappy with McCurry having taken her

photograph, not understanding what this was as she had never been

photographed, or even seen a camera, before (Newman, 2002). McCurry

stated at an exhibition opening in 2011 “We’re continually in contact with her

today and we make sure she’s taken care of and that she’s been

compensated for the picture – that’s been an on-going process since 2002.”

(McCurry, 2011.)

 

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Kevin Carter’s “Sudanese Girl”

(See Fig. 3)

Wanting to document the rebel fighting he felt the world was overlooking,

Kevin Carter self-funded a trip to Sudan, which was experiencing a famine

(Dowling, 2008). With the United Nations having recently cut back on the

amount of aid operations in the country due to the fighting, Kevin Carter was

enabled to photograph many of the people affected by the famine. His

photograph of a Sudanese girl during this time went on to cause a lot of

questions about the ethics surrounding photojournalism and what is and isn’t

appropriate to photograph. Published in the New York Times on the 26th

March 1993 (Cate, 1999), the girls tiny, frail body right in the forefront of the

image being framed by vapid wasteland around her would almost be shocking

enough of an image, but adding in further context of the vulture sat no more

than a couple yards behind and the feeling of death being imminent punches

you in the gut, hard. It’s uncomfortable and difficult to look at, and a few

months after winning the Pulitzer Prize in 1994, Carter took his life due to

depression, barely a year after the image was taken (Dowling, 2008),

 

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meaning it must have been difficult for him to produce too. Ethically, Carter

received a huge amount of backlash for the image with many people accusing

him of being immoral for not helping the girl escape death, but aside from

chasing away the vulture, which he eventually did after sitting and waiting for

twenty minutes in the Sudanese sun for the vulture to open its wings to

achieve the perfect shot, would he have been able to save her? (Everything2,

2000) Carter’s image went on to become “an icon of Africa’s anguish”

(Macleod, 2001) and James Fallows claimed it “did more than any other news

story” (Fallows, 1997) by being published in hundreds of magazines, relief

organization leaflets and newspapers worldwide, even being used as an

Amnesty International poster, but the area was tragically decimated before

any further aid reached the people of Ayod (Dowling, 2008).

 

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Chapter Two: Amateur versus Professional

Image sharing site Instagram, which launched in 2010 and now has over 300

million monthly active users who generate an upload of 70 million photos on

average per day (Instagram, 2015), and Facebook, which started to allow

users to upload high quality images 22nd March 2012 (Facebook, 2012), have

become commonplace within almost every home. More and more people are

finding an interest in photography and sharing their day-to-day lives on a

public platform, leading to the argument that ‘iPhoneography’, a term coined

in November 2008 by Glyn Evans (http://www.iphoneography.com/, no date),

and furthermore that ‘iPhoneographers’ were shaping the way that we would

see images in our media, such as newspapers and news websites (Evans,

2013).

So what is, traditionally speaking, a professional photographer? According to

Nikon and Canon who both have ‘pro’ versions of their websites that require a

username and password to get into, a professional is someone who earns

100% of their income through photography (Rockwell, 2008). Zack Arias in a

session with CreativeLIVE thinks it’s far simpler than that stating that he

believes a professional to be “consistent, can be relied on and is a problem

solver” and that if you have a picture to show then you are a professional,

whether there is a paycheck accompanying that image or not (Arias, 2010). In

recent years, professional photojournalists and their jobs have come under

threat and there are a few excuses floating around for the reasons why, one

of the most popular being that everyone now has access to some kind of

 

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camera capable of producing good, broadcast-able quality images and video

blurring the lines between amateurs and professionals even further. At least,

this is the excuse Jack Womack of CNN stuck to when he fired a handful of

their Image and Sound staff in November 2011, twelve of whom were

photojournalists comprised of “four in New York, five in Washington, one in

Miami, and one in Los Angeles” (Reuters, 2011). Firing photojournalists has

become a bit of a trend ever since with the Chicago Sun-Times following suit

and sacking it’s entire 28-person strong photographic department in May 2013

(Associated Press, 2013), Sports Illustrated firing the last of it’s six full-time

photographers in January 2015 (Britton, 2015) and the Associated Press (AP)

firing it’s photographers left, right and centre, despite being one of the biggest

media houses supplying images to the mainstream news industry (Associated

Press, no date).

It seems, however, that it isn’t just Jack Womack who is willing to speak out

on his beliefs that amateur photographers are now capable of the high

standard of professional photographers. On talking about the discontinuation

of the Flickr Pro subscription to their website, which allowed ‘Pro’s’ more

storage space and bigger image uploads, Marissa Mayer, the current

president and CEO of Yahoo!, stated in a press conference:

... was a decision that we would not have the Flickr Pro piece anymore,

and that all - there's no such thing as Flickr Pro, because today, with

cameras as pervasive as they are, there is no such thing really as

professional photographers, when there's everything is professional

photographers. (Mayer, 2013)

 

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(See Fig. 4)

Whilst many people were arguing, and probably will continue to argue, that

‘photographers’ with iPhone’s are incapable of producing images to the same

high standard that professional photojournalist’s with bulky, high-tech

cameras can (Frost, 2013), Time Magazine did something unprecedented for

it’s 12th November 2012 issue. Hiring five iPhoneographers, Michael

Christopher Brown, Benjamin Lowy, Ed Kashi, Andrew Quilty and Stephen

Wilkes, to go out and document Hurricane Sandy as it thrashed the northeast

coast of America. Time’s photographic director Kira Pollack also gave each of

them, who all use Instagram heavily, access to the Time’s official Instagram

account to upload their images to (Bercovici, 2012). Pollack says that

although using Instagram as a tool for covering news quickly and effectively

was an experiment, she claims it was not one that came about through the

‘trendiness’ of Instagram. Pollack states, “We just thought this is going to be

the fastest way we can cover this and it’s the most direct route.” The collection

 

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of images was later featured on Lightbox, the photography blog for Time

Magazine, and was “one of the most popular galleries we’ve ever done”

driving 13% of the websites traffic, subsequently the magazine’s Instagram

account went on to gain 12,000 new followers within a 48-hour’s of the

images being uploaded (Bercovivi, 2012).

One of the images from the experiment, taken by Benjamin Lowy, ended up

on the front page of the issue, which documented Hurricane Sandy, and for

many people highlighted the main issue of using iPhone photos in

replacement of high-quality produced images from a DSLR designed for the

job, the reproduction resolution (Pollack, 2012). Pollack argues that this

wasn’t an issue upon using it for the cover however, stating “there’s almost a

painterly quality to it” (Pollack, 2012) creating a debate within itself on the

beauty of destruction. The image, which was a crop of the original image and

is one of ten uploads to Instagram every second with the hashtag sandy

(Lowy, 2012), allowed Lowy to reflect on his practice, and taking to Tumblr to

explain his conversion from a traditional photography format and into mobile

photography, he says:

For years, I have worked with bulky digital cameras, always mindful of

the technical manoeuvres from setting the shutter speed and aperture

to editing and toning on a computer screen. In the last few years I have

discovered that my iPhone has allowed me to capture scenes without

feeling that I am once again on the job. To “point and shoot” has been

a liberating experience. It has allowed me to rediscover the excitement

 

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of seeing imperfections and happy accidents rendered through the lens

of my handheld device.” (Lowy, 2012.)

There are still many, however, who feel that with digital manipulation

applications, such as Instagram, and the transformation into using images

produced through such apps as a new form of journalism takes away from the

documentary core of photojournalism with the ease of editing an image with

effects and filters (Bercovici, 2012) and it seems that whilst Pollack disagrees,

she does accept that “that’s always a conversation in photojournalism and a

very important one.” (Pollack, 2012)

 

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Chapter Three: LiveLeak – Providing information or breaching privacy?

“There is a difference between a charitable endeavor and a breach of

privacy.” (Lam and Swan, 2014.)

With the capacity for amateurs to get as large of a platform as professional

photojournalists, provided mainly through the use of user-updated internet

sources such as Instagram, Twitter, LiveLeak and Reddit, this opens up a

huge opportunity for people who are living in affected areas to get their

images seen. Seen initially with the Occupy movement where both journalists

and photojournalists were physically barred from gaining access into Zuccotti

Park in New York (Walker, 2012), amateur photographers from inside the park

were able to take images of police brutality and upload them immediately to

Twitter, adding to the hashtag OccupyWallSt which was available to read like

a running, constantly updating news story. But at what point does the release

of information turn from being a charitable endeavor to produce a come about

of change and into an invasion of privacy?

Professional photojournalist’s are generally regarded as having to adhere to

guidelines, at least in regards as to what kinds of images can be published

(Reuters, 2008). LiveLeak is a British website founded by Hayden Hewitt in

2006 who’s aim is to give the voice back to the public and allows citizen-

created footage of war, politics and world events and politics to be published

on the website (The New Freedom, 2008). It has created a platform that

 

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allows the users who uploaded these images to become the journalists and it

has become almost notorious for its uncensored imagery. A quick search of

the most popular videos available to watch pulls up some interesting results,

the first video with 8626605 views and nearly 600 comments is footage from

1st March 2008 of an A320 plan nearly crashing during a crosswind approach

in Hamburg (User: stefan171 (http://www.liveleak.com/c/stefan171), 2008).

The next is a video of twins sharing a bath together, tightly wrapped in each

other’s embrace with the caption reading, “Twins were born, but haven’t

realised” (User: reggaereggae (http://www.liveleak.com/c/reggaereggae),

2013) The third video, in stark comparison, is that of ‘leaked’ footage from a

mobile phone of Saddam Hussein’s execution (User: nWatcher

(http://www.liveleak.com/c/nWatcher), 2006).

But having almost no censoring on their website meant that not only were

people documenting bad crashes and protests given a platform for their

stories, so were members of The Islamic State (ISIS). On August 2014, ISIS

uploaded a video to LiveLeak containing footage of the beheading of James

Foley, an American journalist and video reporter (User: Liveleak Content,

http://www.liveleak.com/view?i=a69_1408615973, 2014), which landed the

creators of the website in hot water. Speaking earlier in 2013, during an

interview addressing Facebook introducing a six-month ban on all beheading

videos with BBC Newsnight’s Jeremy Paxman and the Chief Foreign

Correspondent for the Sunday Telegraph Colin Freeman, the founder Hayden

Hewitt expressed that such images were allowed on LiveLeak because “it falls

within a certain sense of freedom” (Hewitt, 2013) but acknowledged that the

 

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types of people watching these images might not be coming from a place of

‘purity’. Colin Freeman argues strongly that upon allowing these images to be

seen by such a large audience, it is a breach of privacy. He says that by

uploading the video, the terrorist has achieved access to an audience that

they shouldn’t have access to and that by viewing the images we’re no longer

looking at what the victim wants us to look at, we are complicit with the

terrorist by looking at what they want us to view. He did however acknowledge

that on some occasions these types of images could have a cathartic effect

with reference to the video and images released by Khaled Saeed’s family

(Freeman, 2013), who was murdered by police under President Mubarak’s

regime in June 2010, which sparked universal outcry during the Arab Spring

and moved thousands of people to protest living under unfair and inhumane

regimes (Ahram Online, 2012).

In a statement posted to the LiveLeak website on 24th August 2014, Hewitt

writes about the decision to no longer allow ISIS a platform to put out what he

believes to be ‘advertising’ (Hewitt, 2014). Hewitt explains that while the

website will still play host to videos which are deemed to document the reality

of what is happening in the Middle East and will still provide a platform for

people who live in the area under ISIS command as he believes these people

only document “such horrors because they want the world to see what they

are living through”, the website will no longer allow videos that are the like of

the James Foley video (Hewitt, 2014). Hewitt states that there is a difference

between documenting and advertising and that he had become aware that

there were production companies involved in creating more beheading videos

 

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that were being distributed out through websites such as LiveLeak to reach a

western audience and influence with their message, in the hopes of gaining

supporters and recruits. At the end of the statement Hewitt explains that the

decision not to allow such images and censor what their viewers see comes

for the first time in now around fifteen years of being “involved in strong,

online media.” (Hewitt, 2014)

Whilst LiveLeak actively promotes the idea of freedom of speech (Hewitt,

2014), in January 2015, Facebook released a new flagging feature, which

would allow users to change the algorithm, accordingly dependent on the

amount of ‘flags’, of images, videos and text-based posts so that they didn’t

occur as frequently on newsfeeds (Owens, 2015) and it is already causing

issues, with some people claiming that it actually goes against freedom of

speech, allowing users with enough manpower to censor what it seen on our

newsfeeds (Watson, 2015). Paul Joseph Watson discusses, on the YouTube

channel PrisonPlanetLive, that agenda-driven political subgroups,

governments or corporations could misuse the feature to censor information

that challenges their beliefs, effectively ensuring that if a post accumulates

enough complaints it will not gain enough traction to be viewed by the size of

the audience it could have potentially previously reached. (Waston, 2015.)

It’s becoming common knowledge that the government and major

corporations hire companies to sway online opinion, and in 2010 it was

revealed that a Toronto-based manipulation company called Social Media

Group had been hired by The Canadian Department of Foreign Affairs and

 

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International Trade, responsible for the East Coast seal hunt, to monitor and

counter information released by the anti-sealing movement (The Canadian

Press, 2010). The company’s role was to find ‘questionable’ comments in

online forums and platforms, such as Facebook, and alert the government.

The government would then pass the comments on to employees, recently

trained in online posting, who worked for either the Department of Fisheries

and Oceans or Foreign Affairs, and would flag these items as spam and post

instead information which they deemed to be more accurate. Watson argues

that Facebook has given companies such as the Social Media Group an

easier way to manipulate what the audience can and cannot see. He also

claims that this could have what he calls a ‘Barbara Streisand effect’ in that

when a post is not viewable in one place, it causes it to gain more attention in

other places. (Waston, 2015)

 

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Chapter Four: The Audiences Understanding of Visual Manipulation

“As consumers of media we are more familiar with the idea of ‘breaking’ news

than ever before.” (Attridge, 2013)

Looking at the algorithm, created by James Hays and Alexei Efros during their

time completing PhD’s at Carnegie Mellon University during 2009 (Hays and

Efros, 2009), which allows entire images to be made up of composite images

it’s not hard to understand the audiences distrust of major news corporations

and their understanding of censorship, and this is changing the way that news

is being reported. The audience is coming to understand that the images

photojournalists are producing are being manipulated, from cropping the

image to change its meaning to complete edits consisting of changing

landscapes, such as the famous cover of the National Geographic which

moved the layout of the Egyptian Pyramids to allow them to fit on the page

(Perlberg, 2012), to giving celebrities new bodies in the case of InTouch

magazine which put Bruce Jenner’s head on Stephanie Beacham’s body

(Snopes, 2015). This distrust has arguably meant that user-generated news,

or citizen-led journalism, appears to have found an audience of which to

target.

According to official data collected from Google’s server, one of the biggest

spikes in interest surrounding manipulated images was that of the image

released directly to British Petroleum’s (BP) own website showing the clean-

 

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up attempts of BP’s oil spill in 2010 (Google, no date). The image, which

claimed to have been taken from the helicopter whilst in the sky over the spill,

had been edited to remove part of a control tower appearing in the top left of

the image and the colours of the image had been changed to reflect that of

the aircraft being in the sky and the water cleaner, but the questions came

when the edit still showed the pilot holding a pre-flight checklist and the

control gauges showing that the helicopter’s door was open, a ramp was open

and that the parking brake was engaged. (Hough, 2010)

Revisiting Nick Ut’s ‘The Terror of War’ (see fig. 1), or rather looking at the

iteration of the image that is most commonly known, the image first published

was one where the image has been cropped down so that the image centers

in on the girl showing the horror and the pain in her face as napalm burns her.

The original however shows a much wider perspective with the girl much

further to the left of the frame and with more soldiers around, one mindlessly

cleaning his camera as if nothing was happening. The un-cropped image

leaves a question that still remains unanswered, was the image cropped for

dramatic effect? To fit a political agenda? Or to avert from creating

controversy about why the soldiers in the image were so nonchalant?

It’s not uncommon for video footage to be manipulated, or even staged, by

mainstream media, as was the case with Danny Abdul-Dayem, known as

‘Syria Danny’ (Friends of Syria, 2013). Danny was interviewed by media

corporations such as the BBC, Sky News, The Guardian and al Hiwar, each of

which featured him giving conflicting stories, but the most notable was one of

 

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his multiple CNN interviews. Footage emerged of Danny coordinating the

staged interview whilst waiting to be connected to Anderson Cooper, who

would be conducting the interview, asking someone off-camera “Did you tell

him to get the gunfire ready?”, talking with the cameraman about what he was

going to say regarding the recovery of dead bodies and a reminder to

reinforce the message that Assad’s forces were carrying out indiscriminate

violence (Watson, 2012). It was picked up by the audience that Danny’s

interview was faked and CNN interviewed him a second time in the hopes of

assuring people that the story was true, but when asked about how the

footage was leaked Danny repeats multiple times “we should have deleted it”

(Abdul-Dayem, 2012), instead raising the question on why he was so insistent

that excess footage from an interview already aired should be deleted. His

story also changed regarding the recovery of dead civilian bodies that had

previously been killed “400 metres” away from his location to claiming that he

recovered bodies from shelling that was occurring 15 kilometres away in a

different city. (Elmassian, Kelanee, Kardous and al-Kadri, 2012)

 

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(See Fig. 5)

Amateur photographers and the power of Instagram and Twitter isn’t without

its own manipulation however, as was found out in the case of Abdul Aziz al-

Otaibi, a keen photographer from Saudi Arabia, who took an image of a young

boy sleeping between what appeared to be two graves, a piece which was

supposed to be an art statement about the eternal, undying love children have

for their parents and “how the love of a child for his parents is irreplaceable.

This love cannot be substituted by anything or anybody else, even if the

parents are dead.” (al-Otaibi, 2014) The image, which featured two mounds of

stones formed to look like graves with a young boy lying through the middle of

them covered by a blanket, was tweeted by an American Muslim convert,

known as @americanbadu on Twitter, to his 174,000

followers(http://www.twitter.com/americanbadu, accessed 20/01/2015) with

 

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the caption claiming that the image was from Syria and suggested that the

boys parents we killed by the Assad regime currently in place (Doornbos,

2014). Within minutes the image had thousands of re-tweets, and despite the

backstory of the image being available on al-Otaibi’s Facebook page, the

image was still being sold as one taken in Syria, with even an Syrian relief

authority, @Yathalema, from Kuwait re-tweeting the image to their 205,000

followers (http://www.twitter.com/yathalema, accessed 20/01/2015). In an

interview with the only reporter who rang him to fact-check, al-Otaibi

expresses his upset and annoyance with his image being taken and used

“totally out of context and use it for your own propaganda.” (al-Otaibi, 2014)

 

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Conclusion

In conclusion, with the audience having more of a journalistic voice, the way

that we’re consuming news is changing and it’s becoming more difficult to

define the line between what we have a right to see and what unethically

exploits people but creates a sensational story, and even harder still to censor

images which do cross the ethical line without sparking a debate about

freedom of speech.

From professional photojournalism to amateur produced imagery, almost

every image we see is manipulated, and even if it hasn’t been edited it’s

becoming more apparent that it has been taken in such a way as to make the

audience feel a particular way, to make us sympathise with a particular

subject or to help reinforce the message of the article it sits within, reducing

the ability for the audience to be subjective and draw their own conclusions

from the images they are viewing. Images that are taken down from Facebook

and the like always tend to find new, slightly less censored platforms on

websites such as LiveLeak, and of course the Dark Web, but that’s not to say

that images that exploit their subjects or are unethical to display don’t make

their way into our daily newspapers or on to news websites. In the future I

believe we can expect to see more citizen-led news that replaces the

traditional tabloids and mainstream media, and it will be readily available to

view, almost fresh from the scene as it unfolds.

(Word Count: 4817.)

 

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