"Diese Studie analysiert die Bildberichterstattung in Tageszeitungen und Magazinen zu den Themen »Flucht« und »Migration« anhand ausgewählter Ereignisse. Welche Bilder von Geflüchteten, von Migrantinnen und Migranten werden uns in deutschen Printmedien gezeigt, welche bleiben ungesehen? Wer wi
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rd als Individuum erkennbar, wer bleibt anonym? Wer wird als handlungsmächtig sichtbar und wer nicht? Deutlich wird, dass Pressefotografie keine Wirklichkeit abbildet, sondern eigene Muster der Sichtbarkeit erzeugt. Auch wenn dabei »Fremde« zu sehen sind, zielt die Bildaussage oft auf die Vergewisserung des »Eigenen«, der deutschen Mehrheitsgesellschaft. Ob Geflüchtete als hilfsbedürftig oder als bedrohlich erkennbar werden, hängt maßgeblich von Selektions- und Darstellungskonventionen journalistischer Bildberichterstattung ab." (Verlagsbeschreibung)
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"In this article, I seek to inform Peace Journalism (PJ) education and training in conflict-affected countries in particular. Based on a case study of the professional experiences of Afghan photojournalists, I offer insights into the acceptability and adoptability of PJ practice by journalists from
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conflict-affected countries. I present six key findings of a larger study on Afghan photojournalists in this article and discuss the lessons they hold for PJ training in conflict-affected countries." (Abstract)
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"If everyone with a smartphone can be a citizen photojournalist, who needs professional photojournalism? This rather flippant question cuts to the heart of a set of pressing issues, where an array of impassioned voices may be heard in vigorous debate. While some of these voices are confidently predi
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cting photojournalism's impending demise as the latest casualty of internet-driven convergence, others are heralding its dramatic rebirth, pointing to the democratisation of what was once the exclusive domain of the professional. Regardless of where one is situated in relation to these stark polarities, however, it is readily apparent that photojournalism is being decisively transformed across shifting, uneven conditions for civic participation in ways that raise important questions for journalisms forms and practices in a digital era. This book's contributors identify and critique a range of factors currently recasting photojournalism's professional ethos, devoting particular attention to the challenges posed by the rise of citizen journalism. This book was originally published as two special issues, in Digital Journalism and Journalism Practice." (Publisher description)
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"This chapter illuminates new understanding about the dangers experienced by Australian news photographers on international and domestic assignments. Using oral history methodology, the interviews with 60 present and former Australian newspaper photographers revealed a litany of psychologically and
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physically hazardous aspects of their work, and the safety training available. Despite the implementation of trauma counselling and hostile environment courses, press photography continues to be a highly dangerous and precarious vocation." (Abstract)
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"In this article, I seek to inform Peace Journalism (PJ) education and training in conflict-affected countries in particular. Based on a case study of the professional experiences of Afghan photojournalists, I offer insights into the acceptability and adoptability of PJ practice by journalists from
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conflict-affected countries. I present six key findings of a larger study on Afghan photojournalists in this article and discuss the lessons they hold for PJ training in conflict-affected countries. In sections 1, 2, 3, 4 and 5, I provide some important theoretical, contextual and methodological background. In section 6, I discuss three professional adversities faced by Afghan photojournalists and evaluate the obstacles that implementation of PJ faces as a result of them. In section 7, I describe one professional motivator for Afghan photojournalists and discuss the opportunity it presents for PJ adoption. In section 8, I describe two other constraints faced by Afghan photojournalists related specifically to donor-funded media development in post-2001 Afghanistan and discuss their implications for PJ training. Finally in section 9, while noting the limitations of the current study, I offer two ways forward for PJ training in conflict-affected countries like Afghanistan." (Abstract)
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"The aim of the present book is to provide both empirical and theoretical input to the discussions of the role of journalism and media in conflict and post-conflict situations and in the often rather muddy waters between them. Together, the contributions to this book from different parts of the worl
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d emphasise that discussions about post-conflict situations will gain from including the media. At the same time, the contributions problematise the concept of post-conflict and powerfully illustrate that the phase between war/conflict and peace is neither unidirectional nor linear, as the use of the concept sometimes seems to imply. Reaching a peace agreement or arranging for the termination of hostilities is, in itself, no guarantee that peace can be secured. The examples from Afghanistan, Colombia and South Sudan in this book show this up clearly. Remaining post-conflict societal friction may even be as threatening to long-lasting peace as the war itself. Hence, post-conflict may be seen as a “conflict situation in which open warfare has come to an end. However, such situations remain tense for years or decades and can easily relapse into large-scale violence” (Junne and Verkoren 2005)." (Introduction, pages 16-17)
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"There has been a significant change in the employment arrangement of photographers from 2015 to 2016. The number of photojournalists working for themselves (self-employed) has declined from 60% in 2015 to 54% of respondents in 2016. Fewer respondents are working full-time as photographers, down mar
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kedly from 74% in 2015 to 61% in 2016. Instead, there has been a rise in part-time work with respondents undertaking other photography-related work and also unrelated work on the side. Less than half of our respondents get all their income from photography. Most need to supplement their photography income with earnings from other activities such as teaching or work in the hospitality industry." (Key findings, page 5)
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"Increasingly, the most powerful images from a news event are captured by eyewitnesses. The proliferation of smartphones and the popularity of social networks means that before a professional camera crew can arrive at the scene, there will almost always be footage of events already uploaded to the l
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ikes of Twitter, Instagram, YouTube, Vine and Whatsapp, or streams appearing via Periscope or Facebook Live. Other bystanders might also have footage on their phones, which they have not posted online. If you work for a news organisation, it is likely you are interested in using some of these images. But how do you navigate the legal and ethical hurdles? This guide answers ten key questions you will face working with status updates on social networks and other online platforms as well as eyewitness media – photographs or videos captured by unofficial sources." (Introduction)
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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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"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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"Among the many topics discussed here are the difference among specific media formats, including television, newspapers, radio, film and photography; policy issues; and the challenge that new media poses to governance in a developing nation faced with innumerable economic, social and political probl
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ems. Eschewing the currently dominant development communication model, the editors argue that market forces rather than planned state interventions will contribute to a more equitable communication environment." (Publisher description)
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"Tracking the ways in which journalism and memory mutually support, undermine, repair and challenge each other, this fascinating collection brings together leading scholars in journalism and memory studies to investigate the complicated role that journalism plays in relation to the past." (Publisher
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description)
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"Visual images have been a central component of propaganda for as long as propaganda has been produced. But recent developments in communication and information technologies have given terrorist and extremist groups options and abilities they never would have been able to come close to even 5 or 10
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years ago. There are terrorist groups who, with very little initial investment, are making videos that are coming so close to the quality of BBC [British Broadcasting Corporation] or CNN [Cable News Network] broadcasts that the difference is meaningless, and with access to the web they have instantaneous access to a global audience. Given the broad social science consensus on the power of visual images relative to that of words, the strategic implications of these groups' sophistication in the use of images in the online environment is carefully considered in a variety of contexts by the authors in this collection." (Publisher description)
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