National Press Photographers Association Code of Ethics

Code of Ethics

Photojournalists and those who manage visual news productions are accountable for upholding the following standards in their daily work:

1. Be accurate and comprehensive in the representation of subjects.

2. Resist being manipulated by staged photo opportunities.

3. 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.

4. 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.

5. While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events.

6. 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.

7. Do not pay sources or subjects or reward them materially for information or participation.

8. Do not accept gifts, favors, or compensation from those who might seek to influence coverage.

9. Do not intentionally sabotage the efforts of other journalists.

Ideally, photojournalists should:

1. Strive to ensure that the public's business is conducted in public. Defend the rights of access for all journalists.

2. 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.

3. 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.

4. Avoid political, civic and business involvements or other employment that compromise or give the appearance of compromising one's own journalistic independence.

5. Strive to be unobtrusive and humble in dealing with subjects.

6. Respect the integrity of the photographic moment.

7. 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. Photojournalists should continuously study their craft and the ethics that guide it.

A few examples can be found here.

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Photographers needed for Issue 4

This Saturday, March 14 I want to cover the Habitat for Humanity event by Phi Theta Kappa.  It starts at 7:45 am.  Email me for more details.  

Also I need a photographer to shoot intramural sports, ACC has volleyball, soccer and basketball.  This will be the week immediately following spring break starting on the 23rd.

A link to the schedule can be found here.    

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One on one camera instruction

I know many of you guys could not make our photographer training sessions and a few of you have expressed interest in learning more.  Contact me if you would like to work one on one and we can set up a time to meet in the office.

pictures@austincc.edu

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Photography Links

I added a few links to some photography websites that I enjoy.  Some of them have tips and techniques while others have really cool photos.  I will try to add to this collection as the semester progresses.  Let me know if your favorite photography website/blog isn't on the list.  

Reminder: Accent Photos 101 

Friday 11 a.m. @ RGC Rm 111

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Photographers workshop - Accent Photos 101

Matt and I will have an informal training session for the photographers. We would like every photographer to attend and any writers who want to learn more about photography. We'll be going over camera functions, composition, cutlines, ect.
Meet in the Accent offices on RGC Rm 111
Friday February 6 at 11 a.m.

10 tips for better cutlines

Here's 10 tips to help you write better cutlines:

1. Don't insult your readers.
   If you have a photo of an environmentalist standing next to a fence at a toxic dump site, don't write, John Johnson is standing next to the fence. . . Your readers know that. Good photos already tell part of the story. In your caption, tell readers something more, besides the obvious. Why is John Johnson at the site? What concerns does he have?
2. Cutlines are mini stories.
   Think TV newscast. When you watch the nightly news, the anchor will give you the basics - When, What, Where, Who, Why and How - as film footage rolls. Essentially, the anchor is giving viewers a caption. The anchor may have just 30 seconds, but the details he/she gives are crucial. In the newspaper, you don't have much space, but what you do wth a three-sentence cutline is just as important. Check out the following cutline by reporter Monte Sonnenberg. It covers the bases:
   (Who) Nine-year-old Ben Smith of (Where) Townsend is managing his (what) diabetes with help from parents (Who) Ann and Gary. The (What) Juvenile Diabetes Research Foundation has named Ben its goodwill ambassador for this (When) Sunday's first annual (How) Walk to (Why) Cure Diabetes event in (Where) Simcoe.
3. Who's who?
   It's one of the simplest parts of a cutline, yet, it's one of the most overlooked basics: Identifying who's where in your cutline. Readers don't have ESP. Readers don't know who's on the left, who's on the right, or who's in the centre. Tell them. When it's not clear who's who, you must give your readers some help. And for readers' sake, do it simply. Don't write, John Johnson, second from left in the middle row starting next to the boiler room door opposite the men's washroom . . . Don't turn your cutline into a maze. Your readers will get lost. If you don't believe it ask our proofreader. He gets lost trying to figure out who's who in many captions. . . because reporters forget to make it clear.
4. Names.
   Names. Names. Get names in your cutlines. Photos record history. When you fail to get the names of the people in your photos, you're recording a blank for history. Are we really doing our job when readers open up the newspaper and see a cute photo of a kid eating ice cream at a festival, and then remark, "Nice photo, but who's the kid?" Imagine how the kid's family feels. People like to see their name in print. And that means cutlines too.
5. Attitude counts.
   Stop viewing cutlines as added workload and start viewing them as value added.
6. Keep accurate notes.
   The root of many errors in cutlines is in our notebooks. Scribblings that we can't decipher when we're back in the office sitting at our desks. Out-of-order notes that don't correlate to the order of photos. It's no wonder why so many cutlines incorrectly identify people. If you took a photo of Bubbly Bill, make sure your notetaking enables you to identify him as Bubbly Bill, not Lively Larry (the guy in the other photo you took).
7. Write like it's happening now.
   Your caption represents a specific moment in time captured by a photograph. The photo is the window that takes readers to the scene and captures 'live' action. Don't have a photo of a factory fire and then write a cutline. . . Firefighters struggled to contain the flames as a chemical factory exploded Tuesday. . . Keep your cutline current by writing Firefighters struggle to contain the flames as a chemical factory explodes Tuesday . . .
8. Quality control.
   It's drilled into our heads to doublecheck and triplecheck our news copy. Captions deserve the same attention, not less. How many times have you seen a name in a cutline spelled differently than in the story? How many times have you seen typos? Get it right in your captions too. You spend hours on your stories to get them right. Don't let your guard down for three minutes to write a threesentence cutline.
9. The little important stuff.
   Cutlines can be a great, reader- friendly place to put stuff that readers need to know quickly. A local theatre group is performing next month. Why not put ticket information and the box office phone number in the caption? Perhaps your photo involves conflict (neighbour protesting against city hall). Why not include a quote from the neighbour to humanize the impact of the conflict? If it's a sports cutline, include the date, time of the team's next game. Cutlines can be useful. And never forget the other little important stuff: street names, ages, town, time of day.
10. Look at your photo before you write the cutline.
    OK, it sounds ridiculous to even say this. But it happens over and over again. A cutline looks like it has no relevance to the photo. The answer is obvious: another rushed cutline, done from memory, because after all, cutlines are a hassle and a burden on our time. What's worse, the reader knows it: "The caption says this, but it looks like he's doing this. . .," they wonder. Or, even worse, "I don't think the writer was even at this event, judging by what's written here!" Don't churn out your cutlines like they're part of an assembly line. Put some thought into them.

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