Week 7 Abstracts

How Do You Photograph the Amish? Let Us Count the Ways 

This article examined the approaches of several photographers following the murder of five young Amish girls in a Pennsylvania school. The assignment was more seen as more challenging than a typical grief situation because the Amish’s religious beliefs prohibit their photographs from being taken. Some photographers, especially local ones who may have to encounter their subjects again, asked permission each time they wanted a shot. Others shot first and asked permission second. Still others shot indiscriminately with the justification that they were on public land and thus had the right to photograph anyone else on public land.

 

I agree with LA Times photographer Carolyn Cole, who said she found another way to communicate the story without violating people’s beliefs and wishes, whenever possible. She said that even though she might get some professional criticism for passing up great photo opportunities, she put more value on telling the story sensitively.

 

Most photographers quoted in the article echoed the similar idea that even when there is a blanket prohibition on photographer, as there is with religious Amish people, the true test comes on a case-by-case and person-by-person basis. Each photographer said that very few people asked directly not to be photographed. This may be because police kept the media at a considerable, unobtrusive distance. But even in cases where the photographers talked with the people ahead of time, many understood that they were part of a news situation and thus were open to photography.

 

This brings up the question of whether a “news situation” warrants insensitivity toward another culture’s religious and traditional beliefs. What if, for instance, the Amish not only believed photography was a sin but also that it steals one’s soul? Would photographers still shoot first, ask later? Or not ask at all? I think the bottom line to remember is that the subjects are still people, and the rule of thumb should be to always ask permission before shooting openly. 

About Those Photos of Little Girls and Artillery Shells … 

This article discusses a couple of AP photos of Israeli little girls doodling on artillery shells that were bound for bordering Lebanon shortly after. The photos got much play in newspapers and blogs around the world. Some commentators used the pictures to rally around anti-Israeli sentiment. Other editors picked up the photos, presumably, because of their powerful juxtaposition of innocence with combat.

 

The Columbia Journalism Review asks editors to consider not only the emotional impact a photo has but also its ability to convey the context of a story. To do so, it contacted another photographer who had been at the scene of the controversial photographs. She said the girls and their parents had just emerged from days in an underground bomb shelter while shells crached overhead. A new army unit had come to town, and the dazed and scared group of people had gathered around the artillery, joined by no less than 12 photographers, poised to capture the perfect shot.

 

These are the contextual details that are lost when a photo gets picked up to accompany a larger, less related story. I think it is important for editors to treat sensitive photos like this as their own story: They should question not only the accuracy of the photo but also the truthfulness. In other words, an editor can believe that the photo was taken when and where the caption says it was taken, but how much truth about the surrounding situation do these impersonal details convey?

 Readers question use of Lexington, Ky., crime scene photo 

After a young woman and mother of six was murdered, a Lexington paper ran a photo of a law enforcement officer photographing the dead body. The photo showed only the woman’s ankles and feet, still wearing sneakers. Readers wondered whether the photo was disrespectful to the dead woman and to her family and friends. They also wondered whether the photo would have run if the woman were a well-to-do white woman instead of a poor, minority drug user from a bad part of town.

Editors at the paper argued that since the murder was the latest in string of three over the past several months, the photo was a good visual reminder of the seriousness of crime. They said that sometimes, an impactful image speaks much louder than any story and that it’s just the jolt readers need to understand.

 

I think that images can be a great tool for conveying the horror of a situation, whether the situation is an isolated incident or a trend. However, I do not think the paper’s decision to run this particular photo in any way contributes to a solution for violence in the community. If the editor’s goal is to get readers to act or think differently in a way that will positively affect crime, I do not think running a picture of one dead body will accomplish the goal. If the accompanying news story is like most, it gave an accurate account of the body’s discovery—nothing more, nothing less. It would not give reasons for the string of crimes, nor would it offer solutions. Therefore, I do not think running a graphic photo is a substitution for a true analysis of the causes of crime.

 Story Idea: Woman of the Year 

UF’s deadline to apply to be Woman of the Year is March 3. I propose talking to Rachel Ebert of the Women’s Leadership Council to find out what makes a great candidate for the award. Last year’s winner, Adelle Fontanet, would make a great source as well. The story would give the history of the award and would profile a few of the past recipients. Mainly, though, it would be a great guide for UF women who want to apply and think they’re a great candidate. It would also give tips for those top five who go on to the interview portion of the application process. What are the judges really looking for?

 The online component would give profiles of winners of the award in recent years, and, depending on the award’s history, from long ago. It would include photos of each recipient, a list of their accomplishments while at UF, and what they’ve been doing since they graduated. If the award has been given only once before, this online component could be equally effective with the one former winner, Adelle Fontanet.