Photojournalism remains a deeply subjective craft – the act, the craft, the technique, the entire business enterprise (from stories selected, assigned, produced, photographed, published, produced, awarded etc.) relies on a series of subjective choices and prioritization. That is, photojournalism, much like any journalism, is fundamentally a human act of exploration, investigation, articulation, documentation, explanation, argumentation, and presentation (not necessarily in that order) and carries within it, as in all human enterprises, a series of human choices, selections, eliminations and and prioritization. And hence, carries within it the fundamental characteristics of all human and humanistic knowledge and endeavors, and that as Edward Said argued:, we can:.
…acquire philosophy and knowledge, it is true, but the basic unsatisfactory fallibility of the human mind persists nonetheless. So there is always something radically incomplete, insufficient, provisional, and arguable about humanistic knowledge that…gives the whole idea of humanism a tragic flaw that is constitutive to it and cannot be removed.
(Said, Edward Humanism And Democratic Criticism, Page 11-12)
Every serious, responsible photojournalist who steps into the world to report and say something about it works to mitigate the problem of human fallibility by proceeding with a determination to report issue fairly, and to document and communicate their findings honestly, comprehensively and ethically. That is, the only thing that allows us to take any photojournalism project seriously is the belief that the reporter has carried out her task with a dedication to these principles. It is also one of the reasons why mainstream news outlets remain so critical to the process – they offer the reputation and trust that allows us to take any reporting from the field seriously.
Ironically, this is the one aspect of photojournalism that news photography and photojournalism contests do not focus on. In fact, there is a near absolute focus on the aesthetics of an image, and little or no focus on evaluating the veracity, accuracy, reliability, and rigor of a photojournalism story. Most of the controversies that emerge during the photo competition season tend to center around issues of aesthetics, as when a number of people voiced concern that Paul Hansen’s World Press Photo competition winning image was over manipulated or adjusted differently for the competition than from when it first ran in the newspaper. Each year, at the end of the major photojournalism competition season, we see a whole host of these complaints and concerns being expressed, with many people expressing outrage at the level of image processing, and adjustment in various winning images. In fact, the only reason an ethics controversy occurred this year was because of a group of bloggers and researchers directly and indirectly invovled with the story produced by Paolo Pellegrin cried foul. Details »