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Ethics of photojournalism


Photography is a reading, not writing. Ferdinando Scianna

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ethics is not different from journalism to photojournalism, as if it were a subete. We know, for the experience of recent years, the behavior of "assault photographers" as not so friendly is often called the paparazzi had to be regulated with more rigor since some of them mercilessly harassed to Princess Diana before succumbing under the Alma bridge in Paris.
since men began to organize their system of doubt, as Borges says, have asked what is well or not at all fields. The important thing is not doing anyone any harm. If it is not the lie that is false because the forger's proposal takes a lot of deception and bad faith. Manipulate a photo, delete characters that have fallen from grace, is a classic manipulation of truth in the failed socialist states of the East, especially the Stalinist era and also that of Mao in China.
Of all the recent book that deals with the Sicilian Ferdinando Scianna fotogiornalismo entitled Ethics and photographer who can write.
In fact, the intrusion of photography in the cultural scene is relatively recent, less than two centuries. Many believe it is urgent to address problems ethics of photojournalism. "I do not think so. Ethics is ethics, "said Scianna (born Bagheria in 1943). "I do not think there is a specific ethics of journalism with its subsequent
ethics of photojournalism. The picture shows, not shows. It makes us see the dead, not the cause of death. As the murderer, usually we put it. "
The beginning of the debate on the ethics of photojournalism can be dated to 1855 when the British royal family invited the photographer Roger Fenton to cover the battlefields of the Crimean War with photos that belied the dire conditions of the combatants. Fenton did so false and admirable. Scianna
recalls the case of Muslims who were portrayed behind a barbed wire but, as denounced by the German journalist Thomas Deichmann, were not in a concentration camp and extermination camp but a refugee. Those pictures, he went around the world, eventually regarded as evidence of criminal acts of ethnic cleansing of Serbs.
not the first time you publish a textbook Scianna. I had done in Obieta ambiguous, where he collected his articles, lectures, introductions, presentations for catalogs. Since 1967 lives in Milan and worked for the weekly L'Europeo as a photojournalist and later as a correspondent in Paris for ten years. He was in Prague when the Soviet invasion in 1968. Submitted by Henri Cartier-Bresson, he joined the agency in 1982 Magnunm. His most important exhibition held in Paris last year: The geometry and the passione.
The photographic section of his book on the ethics of photojournalism is most interesting is a catalog of doctored photographs, manipulated, like the flag on Iwo Jima, or the images of Stalin that his companions disappeared into the darkroom.