"This Guidance Note is provided by Liberty Asia to NGOs across the Asia region as a suggested statement of best practice and guidance in relation to obtaining and using images of victims of human trafficking, slavery and forced labour. In addition to the Guidance Note, Liberty Asia has also provided
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a suggested form of Consent Letter (Annex 1), and a Checklist of Key Issues (Annex 2) for use by NGOs to supplement and enhance the Guidance Note. This Guidance Note should be consulted by NGOs whenever they are obtaining images of people for use in their publications or other media. This Guidance Note should be used by NGOs whenever obtaining or using images of victims of human tra!cking or forced labour. Consent should always be obtained prior to the use of any image of a person in accordance with the guidance set out in this document." (Introduction, page 7)
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"Im Folgenden gebe ich zunächst einen kurzen historischen Überblick über die bedeutsamen Genres und Momente der angolanischen Fotografiegeschichte, bevor ich mich ausgewählten Beispielen der rezenten künstlerischen Fotografie intensiver widme. Beides ist wichtig, um zu verstehen, wie in Angola
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bis heute ein kolonialer Blick konstruiert und späterhin dekolonisiert wurde. Hier sind zwei historische Momente bedeutsam: die Zeit nach der Unabhängigkeit von Portugal nach 1975 und die ersten zehn Jahre nach dem Ende des Bürgerkriegs im Jahr 2002." (Seite 15)
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"Historical photographs taken in Latin America have now become key sites for memory politics, ethnographic imagination, and the negotiation of identity. This volume opens up a set of questions relating to the contemporaneous agency of images as well as their current appropriation via new technologie
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s. Case studies of pictures taken in Mexico, Colombia, Peru and Brazil analyze these processes by tracing how the images have been resignified over time and space. The contributions examine photographs that have been recently rediscovered by such diverse actors as European museums, human rights organizations, anthropologists, shamans, local historians, and communities of internet users." (Publisher description)
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"As Documentary Photographers increasingly introduce the collaborative and participatory methodologies common to socially engaged art practices into their projects (particularly those that are activist in nature, seeking to catalyse social change agendas and policies through image making and sharing
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), there is an increased tension between the process of production and the photographic representation that is created. Over the course of the last five years I have utilised these methodologies of co-authorship. This article contextualizes this kind of transdisciplinary work, and examines the ways in which the integration of collaborative strategies and co-authored practice in projects that are explicitly designed to be of benefit to a primary audience (the participants, collaborators and producers) might be usefully disseminated to a secondary audience (the general public, the ‘art world’, critics etc.) through analysis of my projects Red Light Dark Room; Sex, lives and stereotypes made in Melbourne, Australia, and The King School Portrait Project made in Portland, Oregon, America."
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"Every photography subject deserves to be treated as an autonomous human being, capable of making independent decisions. In case of children, we also need to ensure their parents’ consent. We need to be constantly aware of our position in the power hierarchy — in the development world, in many c
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ases, we control the subject’s access to money, schooling, opportunities, and even fun. So they may defer to us by default, and it is our responsibility to not take advantage of this. It is our duty to protect the subjects from harm, and to ensure they enjoy every possible benefit of participating in our activity." (Page 8)
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"The three photos of the drowned Syrian refugee kid Aylan Kurdi, the Palestinian kid Mohammad Al-Dorra (during the second Intifada) and the Vietnamese Napalm girl Phan Th. Kim Phúc, caused enormous influence, not only among millions of people but also on decision makers. Therefore, photojournalists
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are usually targeted by sides that are afraid to be exposed while committing violations or during wars. Especially that it is almost impossible to disapprove the credibility of photos taken on field. The profession of photojournalists requires them to be on field during the events and clashes regardless of the dangerousness that might face them, and usually photojournalists are at the forefront of their colleagues; which makes them subjected to attacks and injuries. The suffering of the photojournalists in Palestine while being physically assaulted is a clear example of the risks that led some journalist to pay the price whilst they implement their profession and how they are treated when their cameras exposes the perpetrators’ rifle. The number of violations against photojournalists in West Bank and Gaza Strip from the beginning of 2012 until the first half of 2015 reached 593. The Israeli occupation committed the large number and the most dangerous (469 violations); which equals 79% of all the violations, whereas the Palestinian sides committed 124 violations in both the West Bank and Gaza Strip." (Page 4)
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"Esta guía pretende proveer los elementos necesarios para establecer un protocolo de seguridad en una diversidad de contextos; así como recomendaciones prácticas para hacer frente a diversas situaciones. La guía está enfocada en todos los periodistas visuales, en particular aquellos que trabaja
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n en zonas de riesgo. El primer apartado del texto se enfoca en los elementos necesarios para elaborar un protocolo de seguridad. Se enlistan las herramientas necesarias para valorar el riesgo y las amenazas y se dan los lineamientos para decidir qué medidas de seguridad adoptar. En el segundo apartado se dan recomendaciones para enfrentar diversos escenarios. La labor de los periodistas visuales los obliga a enfrentar una diversidad de circunstancias con características particulares. Este segundo apartado pretende brindar al lector recomendaciones específicas que le serán útiles en cierto tipo de contextos, pero sin olvidar que no hay dos situaciones iguales, por lo que cada cobertura requiere de medidas específicas de seguridad. El último apartado está dedicado al manejo de estrés y los efectos psicológicos que pueden surgir por el trabajo en situaciones de alto riesgo. El bienestar psicológico es fundamental para poder desarrollar una buena cobertura periodística. La labor de los reporteros gráficos los obliga a estar en estados de alto nivel de adrenalina, lo que puede causar estragos en la salud." (Página 6)
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"Participatory photography initiatives promise to ‘empower’, ‘give voice’ and ‘enable social change’ for marginalised communities through photography. This thesis questions this promise, demonstrating participatory photography to be a contested practice defined as much by inherent tensio
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n, ethical complexity and its limitations as by its potential. Caught up in governmental practices and instrumental discourses, ‘NGO-ised’ participatory photography has lost its purpose and politics. Using multiple case-studies and presenting empirical research on TAFOS, a pioneering Peruvian participatory photography project, this thesis explores under examined areas of participatory photography practice, including its governmentality, spectatorship and long term impact on participants. It establishes the effectiveness of photography as a tool for fomenting an enduring critical consciousness (Freire 1970, 1973) while questioning the romantic narrative of participatory photography’s inherently empowering qualities and capacity to enable change. Pluralism is used as a theoretical and conceptual framework for re-framing the promise of participatory photography. It is argued that a pluralized notion of participatory photography highlights the paradoxical, uncertain and negotiated character of the practice. It re-conceptualises the method as a mode of mediation that enables a plurality of seeing, that supports emerging and unrecognized claims and that cultivates a critical engagement with difference; qualities that are vital to democratic pluralism. The notion of a ‘Photography of Becoming’ re-imagines the critical and political character of participatory photography and the complex and vulnerable politics of voice in which it is immersed." (Abstract)
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"This article is a historical examination of the use of photography in the informational and fundraising strategies of humanitarian organizations. Drawing on archival research and recent scholarship, it shows that the figure of the dead or suffering child has been a centrepiece of humanitarian campa
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igns for over a century and suggests that in earlier eras too, such photos, under certain conditions, could “go viral” and achieve iconic status. Opening with last year’s photo campaign involving the case of 3-year-old Syrian refugee Alan Kurdi, whose body washed up on a Turkish beach near Bodrum in early September 2015, the article draws on select historical examples to explore continuities and ruptures in the narrative framing and emotional address of photos depicting dead or suffering children, and in the ethically and politically charged decisions by NGO actors and the media to publish and distribute such images. We propose that today, as in the past, the relationship between media and humanitarian NGOs remains symbiotic despite contemporary claims about the revolutionary role of new visual technologies and social media." (Abstract)
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"This article begins with a literature review of Participatory Photography (PP) that highlights how this tool has been mostly implemented for action research, advocacy, and public health purposes. It shows how scholars have only quite recently begun to recognise its ability to generate change among
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PP participants. This is followed by a description of the project that was carried out in Kenya, including its background, objectives and daily activities related to peacebuilding. Offering insight into crucial aspects of this work, examples of the photographs taken by participants and related stories are presented. The conclusion is preceded by reflections on the effectiveness, limitations and potential risks involved in carrying out PP projects in post-conflict settings." (Abstract)
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"The report is based on an online survey of professional photographers who entered the 2015 World Press Photo Contest. A total of 1,556 photographers from more than 100 countries and territories completed the questionnaire. Evidence from the questionnaire is summarised below. This is the first large
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-scale international survey of its kind but it is intended that this survey will be repeated annually to track the changes and circumstances of professional photojournalists and to examine the impact of the digital era on their lives and livelihoods. Key findings: 1. Professional news photography is dominated by men, with 85% of the respondents male. 2. The majority of photographers (60%) who responded to the survey were self-employed. 3. Three-quarters of the respondents work full-time as photographers. 4. When asked to specify their role, 40% called themselves photojournalists, 30% said documentary photographers, and 14% said news photographers. 5. News photography was the largest category of photography (named by 19% of respondents), followed by personal projects (18%), portraiture (14%), and sport (10%). 6. Photographers largely work alone (80% of respondents)[...]" (Executive summary)
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"Natürlich ist Grundlage unserer Arbeit auch der Pressekodex. Darüber hinaus haben wir überlegt, was ist das Besondere von uns als katholisches Lateinamerika-Hilfswerk, als „Adveniat“. Wie spielt das mit rein in unsere Bildethik, unsere Ethik in der Öffentlichkeitsarbeit, die Ethik unserer B
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erichterstattung. Die Grundlage für uns ist der Mensch als Ebenbild Gottes mit seiner unveräußerlichen Würde. Notleidende Menschen und Menschen in Krisensituation wollen wir daher immer auch als Subjekte ihres Handelns darstellen und nicht als Opfer. Ganz wichtig ist außerdem: Wir akzeptieren das Recht auf das eigene Bild. Es gibt bei uns auch keine gestellten Bilder, selbst wenn das möglicherweise auf Kosten der Bildauswahl geht, die hinterher zur Verfügung steht. Wenn zum Beispiel ein Journalistenteam in einem Armenviertel für uns ein Projekt, das von „Adveniat“ unterstützt wird, recherchiert und dazu Familien in diesem Viertel besucht, dann werden nur mit Einwilligung dieser Menschen Fotos gemacht. Wenn eine Familie sich also schämt für ihre ärmliche Hütte und nicht möchte, dass man drinnen Bilder macht, dann gibt es eben nur ein Bild vor der Hütte – und damit müssen wir auskommen. Es kommt durchaus vor, dass wir Bilder, die wir gerne gesehen hätten, nicht bekommen. Möglicherweise gibt es dann am Ende sogar mal kein Motiv, bei dem wir sagen, das ist richtig plakattauglich oder es muss lange darum gerungen werden, weil kein entsprechendes Bild verfügbar ist." (S439-440)
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"The research is based on a survey of 45 industry professionals from 15 countries [...] The principal finding is that there is a de facto global consensus on how media organizations understand the manipulation ofimages. Manipulation is seen as involving material changes to an image through the addit
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ion or subtraction of content, and is always deemed unacceptable for news and documentary pictures. Manipulation is therefore a specific form of processing, where the material change to the image through the addition or subtraction of element(s) is designed to deceive or mislead the reader/viewer. Adjustments (such as limited cropping, dodging and burning, toning, color adjustment, conversion to grayscale) to photographs are accepted. These are usually described in terms of“minor“changes being permitted while “excessive“ changes are prohibited." (Executive summary)
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"Im Kontext einer nord-süd-politisch relevanten Information interessiert besonders die Frage der Repräsentation, der Klischeebildung, der Ermächtigung. Ein Foto kann empathisch aufmerksam machen oder zur Schau stellen, aber auch Nähe erzeugen, berühren. Nicht immer folgt auf eine gute Absicht e
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ine gute Praxis. Entwürdigende Fotografie ist, wenn Menschen stilisiert oder als Platzhalter eingesetzt werden. Das kommt in der Fair-Trade-Werbung vor (S.25). Oder wenn sie – wie häufig in der Spendenwerbefotografie von Hilfswerken – viktimisiert werden. Das Foto einer Person kann etwas sehr Privates weltweit und öffentlich kundtun. So zum Beispiel das Foto eines Mädchens ohne Kleider, das – mit Entsetzen im Gesicht – vor dem Napalmangriff südvietnamesischer Flieger weg- und einem Pressefotografen entgegenläuft. Und damit den Augen von Millionen BetrachterInnen in der westlichen Welt, nachdem das Bild mit der Vergabe des World Press Photo Awards 1972 schließlich zum Symbol für die Grausamkeit des Vietnamkrieges wurde. Ein Foto kann Gewalt sichtbar machen. So vermag ein Bild von Gefangenen die Willkür ihrer Peiniger ausdrücken. Der Blick in eine Fabrikhalle mit einem Nähmaschinenpark kann den vernichtenden Charakter eines Systems darstellen. Ein Foto kann vom unmenschlichen Grauen erzählen. Oder es kann Verstoßene rehabilitieren; etwa wenn Personen ihre Versehrungen zeigen (S.17) und dabei Momente des Vertrauens und des Glücks zum Ausdruck bringen. Ein Foto kann Zuversicht schaffen. Der abgelichtete Moment eines Handschlages – wie zwischen Nelson Mandela und F.W. De Klerk – hat ein Zeitalter der Hoffnung auf das Ende der Apartheid eingeläutet. Ein Foto kann ermächtigen. Die Porträts von Trans-Personen der Aktivistin Zanele Muholi sind wie eine Ausstellung der Existenz des Schönen, der Liebe und des Menschseins gegen eine homophobe Stimmung (S.30). Die Kraft eines Fotos im emanzipatorischen Sinn – liegt oft in der Irritation. Ein kleiner Zweifel, ein kurzer Knacks im herrschenden Diskurs. Fotografie kann – das klingt schlicht – Sichtbarkeit schaffen. Die Fotos der Gruppe Lampedusa in Hamburg Professions (S.31), erinnern daran, dass hierzulande viele Menschen eine Vorliebe dafür hegen, sich über ihren Beruf in Wert zu setzten, anderen diese Repräsentation aber gerne aberkennen." (Editorial)
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"Politics in the Middle East is now ‘seen’ and the image is playing a central part in processes of political struggle. This is the first book in the literature to engage directly with these changing ways of communicating politics in the region - and particularly with the politics of the image, i
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ts power as a political tool. Lina Khatib presents a cross-country examination of emerging trends in the use of visuals in political struggles in the Middle East, from the Cedar Revolution in Lebanon to the Green Movement in Iran, to the Arab Spring in Egypt, Syria and Libya. She demonstrates how states, activists, artists and people ‘on the street'’ are making use of television, the social media and mobile phones, as well as non-electronic forms, including posters, cartoons, billboards and graffiti to convey and mediate political messages. She also draws attention to politics as a visual performance by leaders and citizens alike." (Publisher description)
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