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The Ethics of Photojournalistic Alteration: an Integrated Schema of Determinants

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The Ethics of Photojournalistic Alteration: an Integrated Schema of Determinants University of Windsor Scholarship at UWindsor Electronic Theses and Dissertations Theses, Dissertations, and Major Papers 1996 The ethics of photojournalistic alteration: An integrated schema of determinants. Paula J. Habas University of Windsor Follow this and additional works at: https://scholar.uwindsor.ca/etd Recommended Citation Habas, Paula J., "The ethics of photojournalistic alteration: An integrated schema of determinants." (1996). Electronic Theses and Dissertations. 3981. https://scholar.uwindsor.ca/etd/3981 This online database contains the full-text of PhD dissertations and Masters’ theses of University of Windsor students from 1954 forward. These documents are made available for personal study and research purposes only, in accordance with the Canadian Copyright Act and the Creative Commons license—CC BY-NC-ND (Attribution, Non-Commercial, No Derivative Works). Under this license, works must always be attributed to the copyright holder (original author), cannot be used for any commercial purposes, and may not be altered. Any other use would require the permission of the copyright holder. Students may inquire about withdrawing their dissertation and/or thesis from this database. For additional inquiries, please contact the repository administrator via email ([email protected]) or by telephone at 519-253-3000ext. 3208. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UME films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS The original manuscript received by UMI contains pages with indistinct and/or slanted print Pages were microfilmed as received. This reproduction is the best copy available UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. I Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE ETHICS OF PHOTOJOURNALISTIC ALTERATION: AN INTEGRATED SCHEMA OF DETERMINANTS by Paula J. Habas A Thesis submitted to the Faculty of Graduate Studies and Research through the Department of Communication Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts at the University of Windsor Windsor, Ontario, Canada September, 1996 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. National Library Bibiiotheque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada YourSie Votre reference OurOe Notre reference The author has granted a non­ L’auteur a accorde une licence non exclusive licence allowing the exclusive permettant a la National Library o f Canada to Bibiiotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, preter, distribuer ou copies of this thesis in microform, vendre des copies de cette these sous paper or electronic formats. la forme de nhcrofiche/film, de reproduction sur papier ou sur format electronique. The author retains ownership of the L’auteur conserve la propriete du copyright in this thesis. Neither the droit d’auteur qui protege cette these. thesis nor substantial extracts from it Ni la these ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent etre imprimes reproduced without the author’s ou autrement reproduits sans son permission. autorisation. 0-612-30906-1 Canada Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. © Paula J. Habas, 1996 All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT Why is the issue of manipulative practices in photojournalism important and why should it be studied? It is important because photographs are powerful iconic mediums that play a vital informative role in our public and private lives. It is worth studying because both history and popular lore have encouraged us to view photographs as direct, unmediated transcriptions of the real world. Since the introduction of photography, viewers have vested the medium with a level of authority and credibility unparalleled by other modes of communication. The iconic similarity of the photograph to its subject masks the distinction between image and reality, and obscures the significance of the picture-making and picture—altering processes in the construction of a photographic message. Photojoumalist’s photographs are particularly influential sources of information because of their status in newspapers and news magazines. If readers assume, as historical evidence suggests, that viewers trust that photographs correspond to a real situation, that they are windows to the real world, then accurate and fair re­ presentations of news events should, and must be, of primary importance. From photography’s inception, the public has been encouraged to accept the premise that the photograph was an objective and truthful record. This expectation is an important reason why photographic alteration in news has always been an ethical issue. Our review of how photojoumalists have attempted to understand photographic/image alterations and secure truthfulness in their work has led us to examine the history of photographic technology and its influence on news reportage (Chapter One); the evolution of ethical awareness in photojournalism (Chapter Two); the complex range of Digital Imaging (DI) technology and other techniques associated with image alteration (Chapter iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Three); and finally, the industry’s views on photojournalism ethics and the appropriate use of photographic techniques in news representation (Chapter Four). Chapters One through Four gradually disclose some foundations for making ethical evaluations. Practitioners themselves and commentators have identified a number of these elements and principles within the domain of photo-image ethics usually in a piecemeal and disconnected fashion. What we have done in this thesis is to identify and highlight the ethical determinants which slowly emerged over one and a half centuries within the profession and examine these elements in their interconnectedness. This thesis is an early attempt to weave together the thoughts, suggestions, and written treatments surrounding the issue of photographic alteration in news reportage, and to present these determinants in a dearer, more integrated approach. On this historical base, this thesis supplies an integrated three-tiered approach to formulating a schema of ethical determinants related to photographic adjustment culminating in a broad statement about the central and continuous responsibility of the photojoumalistic agent. This approach takes seriously into account (1) the metaphysical elements of the image, (2) the importance para-image factors play in the ethics of photographic alteration, and (3) the responsibility of the photojoumalistic community. A photograph is no guarantee of a corresponding pre-photographic existent. It is the reputation of the photographer and his or her publication that produces the sodal expectation that the photograph is truthful, accurate, and meaningful, and that it corresponds to the reality of a news story. v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. DEDICATION To my parents Mike and Jo Habas, To my late grandparents Andrew and Mary Osowski and John and Balbina Habas, To my brother Mitchell and his wife Cheryl, and to all those who have in some way assisted and made the realization of my Master’s degree possible, I thank you and I love you all. A special thanks and debt of gratitude to my mother for believing in me even when I doubted myself. This thesis is as much yours
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