Reporters and photographers clash over image selection. Are you ready to mediate and find a middle ground?

L'image est la définition meme de l'ame, et le reflet de l'esprit de celui qui la prend. Elle sait expliquer un texte sans l'écrire, elle donne la liberté créative à chacun d'interpréter selon son imagination ce quil voit. Une consolation à celui qui cherche à se disuader de son manque d'analyse artistique, parce qu'elle lui donne l'opportunité de la comprendre selon son aise. L'image, à sa simple vue, on y interprète la beauté, la naiveté, l'espoir, l'amour, le pardon, la grandeur, la faiblesse, la petitesse, la paix, la richesse, la guerre, la pauvreté, l'excitation, le sexe... Ce que les mots ne font pas sans une image qu'ils viennent juste accompagner. L'IMAGE, C'EST L'HISTOIRE... et les MOTS, CEUX QUI RACONTENT L'HISTOIRE...

As someone who worked in Military Intelligence, I can share that the reporting we see publicly always comes with an agenda. The editorial bias isn't always easily perceptible, but it's always there. Whether or not there is overt editorial present in news reports, there is always a preference for details that favor the editorial bias of the news outlet. It's time for people to work harder to vet the news sources they rely upon. Find sources that spend the majority of their resources on reporting news, not offering pre-digested editorial. Look for work that is detail-heavy and that acknowledges when their is doubt about information they are presenting. Think about what is being said, and don't support outlets that freely have calls to action.

As both a photographer and a reporter, I understand the power of visuals in storytelling. Photographers excel at capturing moments that words can't fully convey. They often take risks to get the perfect shot that defines a story's essence. However, as reporters, we must balance these impactful images with the broader story context. It's essential that visuals enhance, not overshadow, the depth and complexity of our narratives. Nevertheless, I appreciate how photographers prioritize visual impact, bringing stories to life and evoking strong emotional responses from our audience.

Depende muito da pauta, se for esporte, uma foto que mostre o atleta num movimento visual legal. Por exemplo, no basquete, uma foto de "enterrada" geralmente é bem impactante. Alguma defesa difícil do goleiro, a comemoração do jogador autor de um gol que dá um título ou classificação para alguma competição melhor, são muitas possibilidades, inclusive "duelando" com outras pautas de outras editorias para ser capa ou não. Eu tenho um exemplo que mudou a capa de um jornal, um duplo homicídio. Estava cobrindo as férias do repórter fotográfico, e aconteceu o fato. Como era algo mais impactante do que se tinha, a capa do jornal acabou sendo a foto relacionada ao crime, edição da segunda-feira geralmente tem esporte do fim de semana.

En tant que journaliste et photographe sur le terrain, la photo est effectivement la vitrine du sujet. Le lecteur sera, dans un premier temps, happé ou non par l’iconographie. Parfois, une série de photo suffit plutôt qu’un article.

On the other hand, reporters look for images that strengthen and enrich their written narrative. We focus on maintaining the story's flow and clarity, ensuring each visual element supports our textual analysis. Reporters often prefer images that, while less dramatic, effectively illustrate specific points in the article. This can sometimes clash with photographers, who prioritize their artistic vision and the emotional impact of their photos. As someone who works as both a reporter and a photographer, I understand the need to find a balance—where compelling visuals not only capture attention but also deepen the audience's understanding of the story.

Comment comparer l'image et les mots. En sachant pertinement que meme lorsqu'on emploi des mots, (radio) on est obliger de VISUALISER des images dans notre esprit pour mieux ressentir l'histoire.

Eu não me preocupo tanto com a questão artística da foto, mas sim com a importância e relevância do fato. Lógico que aí é importante tentar conseguir a melhor foto possível, com enquadramento, luz, algo que descreva visualmente e fielmente o que ocorreu.

Je ne suis pas d’accord. Le journaliste choisira une photo qui va avec l’angle de son article. Il peut également sélectionner plusieurs photos dans un même article. En revanche, parfois, si l’image illustre de la violence, du sang, ou un aspect sexuel, nous ne pouvons pas forcément la choisir pour ne pas heurter le plus grand nombre.

I spent 14 years as a photojournalist for over 30 newspapers and magazines. While I agree that a photographer's work can be considered art, I feel that it is the job of the photographer to capture what the editor needs / wants. I was paid to take the images and sometimes write the stories; not to decide what was printed in the publications.

As a sub-editor or editor with experience in reporting and photography, I understand the critical role in mediating between reporters and photographers. Our aim is to find a middle ground that combines engaging visuals with accurate storytelling. Editors must weigh the audience's expectations and adhere to the publication's standards when making decisions that align with both the reporter's and photographer's goals. This balancing act is essential for delivering a coherent and influential news article.

Tout à fait d’accord. Lorsqu’un journaliste et un photographe travaillent ensemble, ils se mettent d’accord en amont sur l’angle du sujet pour que les images correspondent. Sur le terrain si une image parle davantage le journaliste peut s’adapter également dans son article.

En définitive, mon avis est que, quelque soit l'explication que je donnerais, et que je voudrais me confondre à donner, je pense à une seule idée ferme et définitive: LES MOTS SONT POUR L'IMAGE, UN COMPLEMENT D'INFORMATIONS

I completely agree with this statement. I trusted the editors that hired me to take photos to make the best choice when publishing my images as it is their job to understand the target audience and the needs of the publication.

Not to impact on a news piece., but a correct and accurate report that is understood by the reader in order to make thoughtful decision’s

As a sub-editor or editor with experience in reporting and photography, I understand the importance of ethics in choosing images. Photos should be impactful and relevant but also honest and respectful. We need to weigh the potential for an image to misinform or harm against its news value. This includes being mindful of violent content—avoiding overly graphic images of blood, victims of rape, murder, suicide, or acid attacks. These ethical challenges often lead to differing opinions between photographers and reporters about what is appropriate to publish. Navigating these issues carefully is essential to uphold the integrity and trustworthiness of our work while being sensitive to the audience and those depicted in the images.

Para esse tópico, podemos citar o caso da cantora brasileira Ludmilla que, ao exibir imagens das favelas do Brasil no telão do Coachella (festival que ocorreu na Califórnia, Estados Unidos), expôs uma foto de um muro com os dizeres "Só Jesus expulsa o tranca rua das pessoas". Ela e a filmaker que produziu o conteúdo foram acusadas de intolerância religiosa e ambas deram a justificativa de que queriam exibir a realidade das ruas. Na minha opinião, sabendo o contexto brasileiro e em como as religiões de matrizes africanas sofrem preconceito no país, as duas pecaram ao não fazer uma curadoria e análise mais ética das imagens.

No exemplo de duplo homicídio que eu citei, eu tinha algumas possibilidades de foto, inclusive com as vítimas caídas antes da perícia chegar. Obviamente e eticamente não cogitei tirar essas fotos. Tinha família chorando, também optei por preservar a dor. Teve uma foto com um cartucho de bala no chão circulado pela perícia, fiz essa foto, mas esse detalhe não dizia tudo que se passou, mas poderia ser arquivo para uma reportagem genérica sobre armas e aumento de homicídios, ou declínio. A foto usada foi dos corpos já periciados sendo acomodados pela polícia no veículo da perícia criminal. Aquilo retratou que ocorreu um crime acima da média naquele dia, naquele lugar...

I agree that ethics play a part in the selection of photos that get published. While the shock value of publishing photos of things like accident victims and casualties of war can certainly make an impact, the ethics of posting said photos can create backlash and sometimes be hurtful. Again, this is the job of the editors to decide. As a photojournalist, it was my job to capture images not to decide what got published.

Personal, professional, and consumer ethics First your own and displayed ethics Second-your professional ethics of your peer’s and employer Third- the ethics and more’s of the consumer Always certify in your own mind that your work is accurate and acceptable as all are decision makers

As a reporter, photojournalist, and editor, I believe finding common ground often involves creative compromise. Open dialogue between reporters and photographers can lead to innovative solutions that respect both the story's message and its visual impact. For instance, we might use a series of images to provide better context or choose an alternative photo that meets both narrative and artistic needs. The essential element is maintaining open communication and a willingness to understand each other’s viewpoints, ensuring that the final product is both cohesive and compelling.

Agreed, communication is key. While some editors may welcome conversations to decide what images get used to support an article, others do not. Either way, it is their job to ultimately decide what gets published.

As a reporter, photojournalist, and editor, I believe finding common ground often involves creative compromise. Open dialogue between reporters and photographers can lead to innovative solutions that respect both the story's message and its visual impact. For instance, we might use a series of images to provide better context or choose an alternative photo that meets both narrative and artistic needs. The essential element is maintaining open communication and a willingness to understand each other’s viewpoints, ensuring that the final product is both cohesive and compelling.

As journalism evolves, so does the process of image selection. Technological advancements and changing media consumption habits present new challenges and opportunities for collaboration between reporters and photographers. As a reporter, photojournalist, and editor, my role in mediating and adapting to these changes is crucial. Ensuring that visual and narrative elements work together seamlessly is essential for maintaining the integrity and impact of our reporting. This balance is key to informing the public effectively and responsibly. Adapting to these changes requires flexibility, creativity, and a deep understanding of both written and visual storytelling to keep pace with the dynamic landscape of journalism.

Apart from objective and professional factors, an editor should be astute in detecting the possibility of subjective interests of each party (photojournalist and news reporter) in negotiating this matter. Take the example of news that contains elements of public relations, such as the launch of a new product events, the inauguration of a building, or the opening of an event. The role of photos in this kind of news is indeed important, but editors must carefully consider how it be visualized, to avoid the possibility of raising suspicions of hidden promotions or advertising.