NPPA CODE OF ETHICS
Visual journalists and those who manage visual news productions are accountable for upholding the following standards in their daily work:
- Be accurate and comprehensive in the representation of subjects.
- Resist being manipulated by staged photo opportunities.
- Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting one's own biases in the work.
- Treat all subjects with respect and dignity. Give special consideration to vulnerable subjects and compassion to victims of crime or tragedy. Intrude on private moments of grief only when the public has an overriding and justifiable need to see.
- While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events.
- Editing should maintain the integrity of the photographic images' content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects.
- Do not pay sources or subjects or reward them materially for information or participation.
- Do not accept gifts, favors, or compensation from those who might seek to influence coverage.
- Do not intentionally sabotage the efforts of other journalists.
Ideally, visual journalists should:
- Strive to ensure that the public's business is conducted in public. Defend the rights of access for all journalists.
- Think proactively, as a student of psychology, sociology, politics and art to develop a unique vision and presentation. Work with a voracious appetite for current events and contemporary visual media.
- Strive for total and unrestricted access to subjects, recommend alternatives to shallow or rushed opportunities, seek a diversity of viewpoints, and work to show unpopular or unnoticed points of view.
- Avoid political, civic and business involvements or other employment that compromise or give the appearance of compromising one's own journalistic independence.
- Strive to be unobtrusive and humble in dealing with subjects.
- Respect the integrity of the photographic moment.
- Strive by example and influence to maintain the spirit and high standards expressed in this code. When confronted with situations in which the proper action is not clear, seek the counsel of those who exhibit the highest standards of the profession. Visual journalists should continuously study their craft and the ethics that guide it.
When the LAPD released O.J. Simpson's mug shot, Time and Newsweek both ran the same photo on the cover. Time magazine manipulated the photograph to make it darker and more menacing. Since it was a news photograph, it shouldn't have been altered at all. Time later apologized for the incident.
Brian Walski, a Los Angeles Times reporter, combined two photographs into one used on the newspaper's front page Monday (above). Sharp-eyed journalists at another paper spotted Iraqis at left who were repeated in the picture.
Reuters on Sunday withdrew an image of smoke rising from burning buildings after an Israeli airstrike Saturday on the suburbs of Beirut after evidence emerged that it had been manipulated to show more smoke. The manipulated image is shown on the left. The unaltered image, shown on the right, has since run.
This famous photograph, known as "Falling Man," captures the plunge of an unknown victim of 9/11 from the north tower—one of many who jumped or fell to their deaths from the upper floors of the World Trade Center.
The decision to publish or censor such images was polarizing in 2001.
Tsarnaev makes cover of Rolling Stone, draws outrage, boycotts.
State Police photographer releases bloody Tsarnaev photos to Boston Magazine
Here, in his own words, Sean Murphy shares his thoughts on the Rolling Stone cover. He stresses that he is speaking strictly for himself and not as a representative of the Massachusetts State Police:
“As a professional law-enforcement officer of 25 years, I believe that the image that was portrayed by Rolling Stone magazine was an insult to any person who has every worn a uniform of any color or any police organization or military branch, and the family members who have ever lost a loved one serving in the line of duty. The truth is that glamorizing the face of terror is not just insulting to the family members of those killed in the line of duty, it also could be an incentive to those who may be unstable to do something to get their face on the cover of Rolling Stonemagazine.
“I hope that the people who see these images will know that this was real. It was as real as it gets. This may have played out as a television show, but this was not a television show. Officer Dick Donohue almost gave his life. Officer Sean Collier did give his life. These were real people, with real lives, with real families. And to have this cover dropped into Boston was hurtful to their memories and their families. I know from first-hand conversations that this Rolling Stone cover has kept many of them up—again. It’s irritated the wounds that will never heal—again. There is nothing glamorous in bringing more pain to a grieving family.
“Photography is very simple, it’s very basic. It brings us back to the cave. An image like this on the cover of Rolling Stone, we see it instantly as being wrong. What Rolling Stone did was wrong. This guy is evil. This is the real Boston bomber. Not someone fluffed and buffed for the cover of Rolling Stone magazine.”
