Writing With Light
Contemporary Standards for Visual Journalism in 2025
Given many recent changes affecting visual journalism that include the ability of artificial intelligence systems to simulate photographs, the algorithms that are increasingly being used to significantly modify photographs either in the camera or in post-production, and the fragmentation in society that has led to mutual distrust and frequent accusations of “fake news,” the Writing with Light campaign is offering a few simple rules to support the role of the visual journalist.
1. If we consider a journalistic photograph as a quotation from appearances, then similar rules would apply as to a verbal quotation: nothing of importance can be modified within the frame (the quotation marks) of the photograph without informing the reader. Minor modifications – modestly changing the contrast, cropping the image, cleaning up digital “noise” (random pixels scattered through an image much like the static one might hear on the radio) – would be allowed. This would be equivalent to the latitude given to a writer to modify a quote by leaving out ums or uhs or deciding where to begin and end the quote. In no case can the essential meaning of the photograph be changed.
2. The photographer should be considered the author of the photograph, just like a writer is the author of an article or essay. It is the integrity of the photographer, the editor and the publication that determine the authenticity of the photograph, not the camera given how easily the image it produces can be altered.
3. Again, as with words, a clarifying term for visual journalism would be “nonfiction photography,” defined as a recording of the visible in which the photographer strives to represent actualities (events, people, etc.) in a fair and accurate manner with appropriate context.
4. As much context as is suitable should be added to the photograph, which is itself a visual record of only a fractional second. This context can be visible to the reader or, if online, concealed, requiring the viewer to click or rollover to reveal it. It would also be helpful if the photographer, photographic agency, and publication provide a direct way for the reader to ascertain their code of ethics, such as by clicking on their names in the credit.
5. This code of ethics should be as concise and transparent as possible. A code of ethics for a photographer might read “While all photography is interpretive, as a visual journalist my photographs are meant to respect the visual facts of the situations I depict. I do not add or subtract elements to or from my photographs.” A code of ethics for a media outlet might read: “All of the photographs that we publish are nonfiction except where indicated, respecting the visual facts of the situation. They can be quotations from appearances, and as with any quotation nothing substantive within them can be changed without informing the reader.”
The hope is that if these standards can be broadly accepted by responsible media outlets and photographers, then the next step will be to publicize them so as to help restore credibility to visual journalism as a key witness to contemporary events. In this era of attacks on fact-based reporting it is necessary to do all that is possible to help restore a sense of reality.
1. If we consider a journalistic photograph as a quotation from appearances, then similar rules would apply as to a verbal quotation: nothing of importance can be modified within the frame (the quotation marks) of the photograph without informing the reader. Minor modifications – modestly changing the contrast, cropping the image, cleaning up digital “noise” (random pixels scattered through an image much like the static one might hear on the radio) – would be allowed. This would be equivalent to the latitude given to a writer to modify a quote by leaving out ums or uhs or deciding where to begin and end the quote. In no case can the essential meaning of the photograph be changed.
2. The photographer should be considered the author of the photograph, just like a writer is the author of an article or essay. It is the integrity of the photographer, the editor and the publication that determine the authenticity of the photograph, not the camera given how easily the image it produces can be altered.
3. Again, as with words, a clarifying term for visual journalism would be “nonfiction photography,” defined as a recording of the visible in which the photographer strives to represent actualities (events, people, etc.) in a fair and accurate manner with appropriate context.
4. As much context as is suitable should be added to the photograph, which is itself a visual record of only a fractional second. This context can be visible to the reader or, if online, concealed, requiring the viewer to click or rollover to reveal it. It would also be helpful if the photographer, photographic agency, and publication provide a direct way for the reader to ascertain their code of ethics, such as by clicking on their names in the credit.
5. This code of ethics should be as concise and transparent as possible. A code of ethics for a photographer might read “While all photography is interpretive, as a visual journalist my photographs are meant to respect the visual facts of the situations I depict. I do not add or subtract elements to or from my photographs.” A code of ethics for a media outlet might read: “All of the photographs that we publish are nonfiction except where indicated, respecting the visual facts of the situation. They can be quotations from appearances, and as with any quotation nothing substantive within them can be changed without informing the reader.”
The hope is that if these standards can be broadly accepted by responsible media outlets and photographers, then the next step will be to publicize them so as to help restore credibility to visual journalism as a key witness to contemporary events. In this era of attacks on fact-based reporting it is necessary to do all that is possible to help restore a sense of reality.
List of Individuals In Agreement
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A Message on A.I.
An update from the Magnum Board of Photographers on artificially-generated or synthetic images
Full link
On November 14, 2024, the Magnum Board of Photographers issued the following statement concerning artificial intelligence and its position on synthetic images in the cooperative’s 77-year-old archive:
“Magnum Photos respects and values the creative freedom of our photographers, supporting their diverse explorations and perspectives. However, our archive and distribution system will remain dedicated exclusively to photographic images taken by humans and that reflect real events and stories, in keeping with Magnum’s legacy and commitment to documentary tradition. Synthetic images will not be included in our archive.”
Last year, in 2023, Magnum, as a cooperative, joined Writing With Light, a group of individuals and organizations that advocate for authenticity and credibility in nonfiction photography.
Resources
In the realm of visual storytelling, a compelling movement has emerged among nonfiction photographers, dedicated to preserving the authentic essence of photography’s original intent. This section provides useful resources for the movement.
About Us
Writing with Light is a group of individuals and organizations that advocate for authenticity and credibility in nonfiction photography. We hope that the standards provided (or ones inspired by them) will be widely adopted by individuals and news organizations, and that they will help lead to a larger discussion on the integrity and future of visual journalism.
News and Events
The Synthetic Eye
Photography Transformed in the Age of AI
Fred Ritchin
Link to publisher
The revolution caused by artificial intelligence in terms of what a photograph can and cannot do is profound. This book looks at photography’s strengths, what it has meant for individuals and for society, its massive transformations caused by a variety of factors in the digital age, and the newer possibilities for image making. These include old and new media, with an emphasis on synthetic imaging as both a positive and terrifying development.
The Power of Photography
As a credible witness to world events, at times the photograph has played a pivotal role in provoking societal debate and influencing the policies of governments. The extensive digital manipulation of photographs over the last three decades, along with the advent of photorealistic imagery generated by artificial intelligence systems, put this ability at risk.
Bibliography and Glossary
Since the end of 2022, the popular press has exponentially increased its coverage of generative artificial intelligence. We have produced this bibliography to help photographers keep abreast of developments in this rapidly evolving environment. Suggestions are welcome: email authentic@trust.photography, maintained by Marshall Meyer.
The aim of the glossary is to share terminology being used in discussions about generative artificial intelligence, and photojournalism and documentary photography
Get In Touch
If you would like to add your name to the movement, please fill out this form. You can email us directly at: wwithlight@gmail.com. Please follow us on social media at the links at the end of this page.
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