The Prying Eye: A Study On The Adherence Of The Selected National Broadsheets To The Code Of Ethics Of National Press Photographers Association

Title: The prying eye: A study on the adherence of the selected national broadsheets to the code of ethics of National Press Photographers Association

Author: Arex C. Nada
Academic Affiliation: College of Arts and Sciences, Southern Luzon State University, Philippines
Professional Affiliation: CIBI Information Incorporated, Marketing Manager, Philippines

Abstract

Newspapers use visual components to deliver information more effectively and efficiently and elicit emotional responses from readers. The purpose of the study was to determine whether chosen national broadsheets adhered to the NPPA (National Press Photographers Association) photojournalism code of ethics. It focused on determining the visual contents of photos depicting calamity, crime, and tragedy published in selected national broadsheets using the NPPA Code of Ethics; to analyze the contents and presentation of photos depicting calamity, crime, and tragedy through the analysis of text and subtext; and to determine the level of adherence of the selected national broadsheets to the NPPA photojournalism code of ethics in publishing photos about the tragedy. The results indicate that the crime, tragedy, and calamity photographs published in the selected national broadsheets correspond to the NPPA code of ethics regarding the accuracy of the visual content, but the narratives frame the issues. The photojournalists communicate the story of a subject through the use of emotionally charged photographs. The photographs depicting tragedy, crime, and calamity published in chosen national broadsheets follow the NPPA code of ethics.

Introduction

Photographs can serve as historical documents for future generations. They preserve the feeling and picture of tragedy, the thrill of athletic competition, and the drama or triumph of war. With the advent of contemporary technology, the use of photographs as essential story-telling tools first appeared in journalism. Those caught up in the battle in the Middle East have utilized photography to depict the predicament of the war’s victims. Time magazine and Newsweek were the first to publish citizen-taken battle photographs. This discipline continues to exist and is now categorized as photojournalism. Photojournalism is fundamentally based on the concept of visual news reporting. It is, like print journalism, a method of responsible journalism. In photographic photos, photojournalism captures and focuses on the emotions of a specific moment. This explanation of an event is illustrated like the news itself; it is not merely a supplement to the written material. 1930 marked the beginning of photojournalism in the Philippines. Honesto Vitug and the photographers Marcial Valenzuela, Vicente Ferrer, and Jose Claudio were its pioneers. Photojournalism has existed in the Philippines for over fifty years. The advent of photography has enabled newspaper readers to experience and appreciate the drama and excitement of daily occurrences with greater intensity. Eventually, Philippine newspapers embraced the practice. While photojournalism background accounts in the Philippines are limited, it is evident that American media influenced the use of photojournalism in the country, given that modern Philippine newspapers were influenced by the wave of English newspapers that were established shortly after the end of the Spanish era in 1898 and the beginning of the American occupation. Today, English newspapers such as The Manila Bulletin (1898) continue to circulate. In the form of photographs, the potential of visual stimuli to convey and influence is apparent and unavoidable (Parkinson, 2000). Humans are forced by evolution to observe and distribute pictures. Therefore, the objective is limited to including images portraying drama that can rapidly evoke human emotion. The practice raises ethical concerns that conflict with privacy laws. With the introduction of powerful yet portable technology, photojournalism became popular in national newspapers and community newspapers around the globe. It is practiced together with citizen journalism in the Philippines. Long-term, the practice of the craft by civilians and journalists leads to restrictions on the use of photographs to maintain the journalistic quality. Associations, such as the Press Photography of the Philippines and the Center for Philippine Journalism, were founded to give practitioners opportunities for camaraderie, education, and even industry standards. National Press Photographers Group (NPPA), a worldwide association of visual journalists, television videographers, editors, and journalism students, was founded in 1947 with its headquarters in Durham, North Carolina. The choice to publish or not publish a photograph is made by photojournalists, the newspaper’s editorial board, and the publisher, following the code of ethics of organizations such as the NPPA.

Method

Locale of the Study

The study was conducted at the different colleges and universities in Quezon province includes Southern Luzon State University, Manuel S. Enverga University Foundation, St. Anne College of the Pacific, Sacred Heart College, and Calayan Educational Foundation Institute offering AB Communication or BS Mass Communication program.

Research Design

The study is qualitative research that utilized a descriptive approach to determine the adherence of the selected national broadsheets to the code of ethics of NPPA. The researcher used quantitative components following the standard coding units and variable functions. This study also has a qualitative component through analysis of the photo.

Population and Sample

The respondents of the study were students the of different colleges and universities of Quezon Province offering AB Communication and BS Mass Communication program, who had already finished the Communication Ethics program; seventeen (17) Manuel S. Enverga University Foundation, nine (9) Sacred Heart College, five (5) St. Anne College of the Pacific, seven (7) Calayan Educational Foundation Institute and sixty-seven (67) Southern Luzon State University with the total of one hundred five (105) students.

Research Instrumentation

The research used a self-made questionnaire constructed by the researcher based on the National Press Photographers Association Code of Ethics. The photos were purposively selected depicting tragedy, calamity, and crime from the three national broadsheets circulating in the country, namely, Philippine Daily Inquirer, Manila Bulletin and Philippine Star.

Procedures and Data Collection

To gather pertinent data needed in the study, the researcher utilized a four-point Likert Scale survey questionnaire. The set of survey-interview was used as a primary tool for data gathering. Based on the approved objectives, the researcher constructed the questionnaire. Once the adviser checked and approved the questionnaire, the researcher sought the permission of the Chairperson of the BA Communication program in SLSU for the validation with the selected junior students as respondents. After the verification, the questionnaire was edited. The adviser checked the questionnaire, and upon approval, the researcher surveyed the respondents. The study respondents were purposively selected from the colleges and universities in Quezon Province offering AB Communication and BS Mass Communication programs. The researcher secured the permission of the head of the selected colleges and universities to hand out the self-constructed questionnaire by providing letters representing the study’s validity. Afterward, the researcher tallied, analyzed, and interpreted the results to determine the level of adherence of photojournalists to the NPPA code of ethics.

Statistical Treatment

The gathered data were analyzed and interpreted using the weighted mean formula.
To evaluate the statements, the following scale was used:

Results

Analysis of visual contents, text, and subtext

Photos serve an essential function in print publications. Photos tell a story on their own, and they are also employed to “show more story” in addition to the text. They can be used for a variety of purposes. Photographers and publishing organizations can utilize them to tell a story with a dramatic effect. Photos, particularly those placed on the front page, can have a powerful emotional impact on readers. The selection of photographs for publication in newspapers is not the photojournalist’s responsibility. The editorial board and publisher contribute to the decision-making process because this may present an ethical challenge for the publication. The study analyzed the visual content of calamity, crime, and tragedy photographs published in chosen national broadsheets to determine whether or not they adhere to the NPPA code of ethics.

Table 1.1 shows the analysis of the selected photos published by Broadsheet A. In terms of visual content, all the photos are shot with actuality, thus, conforming to NPPA’s provision on accuracy. Photo 01, the high angle shot, gives a dramatic impact but still respects the subject. The photo was presented with context without showing the face of the subject. Photo 02 shows the complete view of where the incident happened and added an inset photo to show the vital element of the story. Photo 03 is notable for presenting the event with context without having to show dead bodies or victims in a humiliating manner. The angles or perspectives of the photos were at the publisher’s discretion. All the photos were presented to communicate a particular message through their visual contents. Broadsheet A photos and text adhere to the code of ethics of the NPPA. Photo 01 caption suggests that the calamity that hit Metro Manila and Cavite will only last for a day. Photo 02 caption has a striking impact on the readers. However, the phrase “Hostage Taking” suggests a negative connotation to the crime; however, the narrative still tells a comprehensive and complete story behind the incident. Photo 03 highlights the tragic event that happened in Cotabato City. The caption attempts to show complete information about the incident but fails to complement the visual content of the photo. The caption also tells another story where one of the causalities of the incident is their Philippine Military commander and the other seven nomads. In terms of following the NPPA Code of Ethics, photo 01 followed the NPPA Code of Ethics provision, “Be accurate and comprehensive in the representation of subjects.” Accuracy and comprehensiveness are observed since the photos are not altered. Photo 02 also followed the same provision by telling the complete story and presenting the context of the photo by showing the complete view of the incident. Photo 02 failed to follow the condition of “Editing should maintain the integrity of the photographic images’ content and context. Do not manipulate images or add or alter the sound in any way that can mislead viewers or misrepresent subjects” two photos can be observed in the front page (1) whole view where the incident happens (2) dismissed police officer Rolando Mendoza waving his hand in the bus where the hostage-taking happened. The photo, however, attempted to show complete information about the incident that happened. Photo 03 followed the NPPA Code of Ethics “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. The photo shows a tragic event that happened in Cotabato City. The photo failed to follow the provision of showing respect and dignity to the casualties; however, actuality and completeness are observed.

Table 1.2 shows the analysis of the photos published in Broadsheet B. Based on visual contents, and the photos presented the event/incident accurately. The photos show the actual incident and the people involved in the incident. This follows the NPPA ethical provision on accuracy. This also supports the visual journalism community principle that photojournalists should resist being manipulated by staged photo opportunities. Photo 04 denotes more drama and has more emotional appeal since the subjects are the elderly. This follows the principle of framing and agenda-setting those newspapers frame the contents of their newspaper to present their agenda. Photo 05 shows the police officer trying to resolve the crime and stop the hostage-taking, presented accurately through visual contents. Photo 06 was meant to create a dramatic impact. The publisher uses angling and positioning to capture the whole incident. Rescuers and police officers are observed in the photo, which shows completeness and comprehensiveness in presenting the subject. Pictures, when taken correctly with relevant content, are unbiased. All of the photos are taken to communicate another message in terms of narrative. Although they did not violate the NPPA’s code of ethics, they framed the issue in the manner the broadsheet wanted to present the story. Photo 04 caption narrates the calamity that hits Manila. “Heavy Burden” denotes a negative impact that shows that the calamity that strikes the country is a burden to the citizens. Photo 05 caption “Botched Assault” indicates a negative effect on readers, it suggests the terrible death of the tourist inside the bus, and on the other hand, it indicates that police officers fail to do their duty. Photo 06 caption “Home Wrecker” suggests multiple meanings, which is one of the techniques of newspapers to add spice to their photo itself. The researcher associated this result in accordance with McComb’s Agenda Setting theory that not only do people acquire factual information about public affairs from the news media, but readers and viewers also learn how much importance to attach to a topic based on the emphasis placed on it in the news. In terms of following the provision of the NPPA Code of Ethics, photo 04 followed the ethical provision of the NPPA Code of Ethics.
“Be accurate and comprehensive in the representation of subjects” they used elderly women as the subjects to show drama and to ensure having a more significant impact on the audience. Photo 05 follows the ethical provision.
“Avoid stereotyping individuals and groups.” Photo 06 attempted to create a dramatic impact using framing and positioning of the photo as it was shot in a high angle shot. It follows the ethical provision of the NPPA Code of Ethics On accuracy.

Table 1.3 shows the analysis of the photos published in Broadsheet C. Based on visual contents, the photos presented the event incident accurately. However, Photo 8, showing the slain body of dismissed Manila policeman Rolando Mendoza, conflicts with the NPPA code of ethics that photojournalists must give respect and dignity to the victims. Nevertheless, despite showing the dead victims, the paper managed to adhere to the code of ethics by blurring the dead bodies. All the photos published in Broadsheet C depict drama and stir strong emotional impact. This follows the strategy of visual communication that visuals can efficiently and effectively draw emotions. In terms of narratives, the photo caption complements the visual content of the photos. The captions are meant to add spice to the photo. Photo 07 caption attempts to tell the story behind the calamity, which follows the provision of completeness in telling the whole story. Photo 08 caption suggests that the crime ended with a sniper’s bullet that led to the scenario of the dead body at the door of the bus. Photo 09 caption focuses on the rescue operation done by the rescuers. In terms of following the provision of the NPPA Code of Ethics, photo 07 follows the ethical provision of “Be accurate and comprehensive in the representation of subjects. Despite the photo’s attempt to stir emotional impact to the audience, it is still not humiliating in any manner. Photo 08 is disturbing and humiliating at the same time; the photo attempts to show dramatic impact to the audience but fails to follow the ethical provision of NPPA “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. “It shows a dead man lying on the door of the bus, which shows disrespect to the victim. On the other hand, Photo 09 followed the ethical provision of NPPA of showing respect as they edit or blur the picture to show respect to the victim, though NPPA Code of Ethics provision “Editing should maintain the integrity of the photographic images’ content and context. Do not manipulate images or add or alter the sound in any way that can mislead viewers or misrepresent subjects.” altering and editing are observed, but it still shows accuracy and actuality.

Table 2 shows the mean distribution of the respondent’s level of agreement on the adherence of the selected national broadsheets to the ethical standard of NPPA. The respondents strongly agreed that the subjects of the photos are presented accurately with a weighted mean of 3.3; they agreed that the photos have complete and comprehensive details showing the subjects and the incidents obtaining a weighted mean of 3.2. With a 3.1 weighted mean, the respondents agreed that the photos were not staged or manipulated. They also agreed that the photos do not show any bias toward a group or individual, show accuracy in presenting the photo through the description, and they also agreed that the photos show the contexts of the events featured with a 3.0 weighted mean. Lastly, they agreed that the photos did not stereotype individuals or groups, obtaining a 2.9 weighted mean. The respondents agreed that the photos respect and pay dignity to the victims obtaining a 2.6 weighted mean. Moreover, the respondents agreed that the photos are not edited or altered in any form in an attempt to influence the readers, and the captions present an accurate description of the event, both having a weighted mean of 2.9. The average weighted mean of 3.01 with a descriptive rating of agreeing signifies that the photos of tragedy, crime, and calamity published by the selected national broadsheets adhere to the code of ethics of NPPA. The results conform with the National Press Photographers Association (2012) statement that the guiding principle of photojournalists is accuracy, and they believe that it is wrong to alter the contents of photographs in any way to deceive the public. The result is also supported by the visual journalism community principle that photojournalists should be accurate and comprehensive in the representation of subjects, should resist being manipulated by staged photo opportunities, should provide context when photographing or recording subjects and should avoid stereotyping individuals and groups and should treat all subjects with respect and dignity.

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Appendices

NPPA Preamble

The National Press Photographers Association, a professional society that promotes the highest standards in visual journalism, acknowledges concern for every person’s need both to be fully informed about public events and to be recognized as part of the world in which we live. Visual journalists operate as trustees of the public. Our primary role is to report visually on the significant events and varied viewpoints in our common world. Our primary goal is the faithful and comprehensive depiction of the subject at hand. As visual journalists, we have the responsibility to document society and to preserve its history through images.
Photographic and video images can reveal great truths, expose wrongdoing and neglect, inspire hope and understanding and connect people around the globe through the language of visual understanding. Photographs can also cause great harm if they are callously intrusive or are manipulated. This code is intended to promote the highest quality in all forms of visual journalism and to strengthen public confidence in the profession. It is also meant to serve as an educational tool both for those who practice and for those who appreciate photojournalism.

To that end, The National Press Photographers Association sets forth the following.

Code of Ethics

Visual journalists 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.
10. Do not engage in harassing behavior of colleagues, subordinates or subjects and maintain the highest standards of behavior in all professional interactions.