There are certain boundaries that define what photojournalism is. With documentary photography, the photographers have to be moral and stick to the  ‘Code of Ethics’. Whilst not law, they are generally the rules people would abide by just going on moral instinct.

Documentary Photography is meant to be an honest representation of what is happening in the world, it’s meant to document it, and so dishonest photojournalism, whilst may be believed by some, is not proper photojournalism. They are meant to be impartial on situations, not showing a biased view, but the whole view of a situation.

In a way everyone sets the standards of Photojournalism, because we all have our own choices of what is and isn’t morally right or wrong.

The main, or most important points from this code of ethics for me are (to simplify the text below from NPPA):

• Accuracy in representation;
• Being complete and providing context;
• Avoid Stereotyping;
• Treating ALL subjects with respect;
• Not manipulating images to alter the viewers perception of the image;
• Not paying sources;
• Not accepting compensation from sources;
• Avoiding political involvements;
• Being unobtrusive.

CODE OF ETHICS
(https://nppa.org/code_of_ethics)

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.

Ideally, visual journalists should:

1. Strive to ensure that the public’s business is conducted in public. Defend the rights of access for all journalists.
2. Think proactively, as a student of psychology, sociology, politics and art to develop a unique vision and presentation. Work with a voracious appetite for current events and contemporary visual media.
3. Strive for total and unrestricted access to subjects, recommend alternatives to shallow or rushed opportunities, seek a diversity of viewpoints, and work to show unpopular or unnoticed points of view.
4. Avoid political, civic and business involvements or other employment that compromise or give the appearance of compromising one’s own journalistic independence.
5. Strive to be unobtrusive and humble in dealing with subjects.
6. Respect the integrity of the photographic moment.
7. Strive by example and influence to maintain the spirit and high standards expressed in this code. When confronted with situations in which the proper action is not clear, seek the counsel of those who exhibit the highest standards of the profession. Visual journalists should continuously study their craft and the ethics that guide it.

One example of not abiding to the code of ethics is Giovanni Trioli.

Giovanni Trioli entered the World Press Photo awards, and won. However he was later revoked this award after controversy over some of the images.

“The World Press Photo Contest must be based on trust in the photographers who enter their work and in their professional ethics,” Lars Boering, the managing director of World Press Photo, said in a statement on Wednesday. “We now have a clear case of misleading information and this changes the way the story is perceived. A rule has now been broken, and a line has been crossed.”

Some of the photos, for example the one above with the intimate scene within the car, were staged photos, (“staging is defined as something that would not have happened without the photographer’s involvement.”) which goes against the rules, as they are meant to be Contemporary Issues, photographed in a photojournalistic way, following the code of ethics etc.

“Mr. Troilo had photographed his cousin having sex with a woman in the back of a car, using a remote-control flash to illuminate the steamy back seat. By putting a flash in the car, critics had said, Mr. Troilo effectively staged the photo, violating the rules of the contest.”

It also went under scrutiny as to whether it violated the privacy of those in the images, but Trioli had said “This is not a stolen photo of a couple caught unawares” that he followed his cousin on a night when his cousin had planned to have sex and that he had his cousin’s consent.

“The decision to rescind the award came a day after a leading photojournalism festival, Visa Pour L’Image, said it would not show any World Press Photos this year to protest what it said were staged photos.”

“If they stand by what they say, that you cannot stage events in photojournalism, then this set of pictures should be disqualified.”Greg Marinovich, a Pulitzer Prize-winning photographer from South Africa who has served on the World Press Photo jury twice.