Wallen Loc: Middle Earth

Converting to black & white etc. are listed as actions/tools that fall into the category of processing.
Nowhere does it not say that those steps would be the best & improve version the image.
The full sentence read; "In processing,the aim is just to show a good/best representation of the SOOC file".

you've mixed up the purpose and the tools
Rephrasing to make it clear; The aim of processing is to show a good/best version of the SOOC file.
note that, aim and result can be very different, and that phrase do not assure that certain steps or tools would achieve the goal.

Please show me where I wrote that post processed or edited images are SOOC.

Have I said otherwise? What was discussed are different levels of post that is usually done to digital photos.
-Processed
-Edited
-Manipulated
Listed according to how far they are from the SOOC.

Those were listed as Edited in my examples. What's the beef?

Manually no. Digitally yes. Because elements that was not in the original image has been added and may change the file size, image size etc.

Please explain further. What do you mean and how do what you meant relate to giving concrete identities to the stages of the post editing process?

gwilliams6

1

gwilliams6

There have been veteran photographers that have been fired for doctoring photos for whatever reasons. And there have been legal cases decided over faked photos. It is always a fight and struggle to keep news and photojournalism to a standard of ethics.

The standard of acceptance in photojournalism is embodied in the Ethics code of the NPPA, the National Press Photographers Association, (for both still and video journalists) of which I was formerly a member of its Board of Directors. Here is that code of ethics, Not all news photographers and photojournalists ,media outlets and TV stations live up to it.

The key passage for this UHH thread is
" 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."

https://nppa.org/code-ethics

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:

Be accurate and comprehensive in the representation of subjects.
Resist being manipulated by staged photo opportunities.
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.
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.
While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events.
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.
Do not pay sources or subjects or reward them materially for information or participation.
Do not accept gifts, favors, or compensation from those who might seek to influence coverage.
Do not intentionally sabotage the efforts of other journalists.
Do not engage in harassing behavior of colleagues, subordinates or subjects and maintain the highest standards of behavior in all professional interactions.
Ideally, visual journalists should:

Strive to ensure that the public's business is conducted in public. Defend the rights of access for all journalists.
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.
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.
Avoid political, civic and business involvements or other employment that compromise or give the appearance of compromising one's own journalistic independence.
Strive to be unobtrusive and humble in dealing with subjects.
Respect the integrity of the photographic moment.
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.

Cheers

rehess Loc: South Bend, Indiana, USA

Some photography is art.
I don’t see any ‘art’ in “Napalm Girl”.

scallihan Loc: Tigard, OR

I agree. The components of the final image should be that photographer's own work. The final image is a work of art, whether sooc or composite.

bajadreamer Loc: Baja California Sur

I have used several techniques in the past, but in this one when I originally took the shots in the field, I knew I was going to need to "move one bird from one photo to the next"; hence the reason for shifting the focus point. I simply used the clone tool in Photoshop to move the bird to the next photo. I use the technique of Alan Murphy; clone the object to be moved with a large enough brush to encompass it entirely. Then I position the object into the next image, remove my finger from the mouse, and use the bracket key to make the clone stamp brush small. I then paint slowly to get as precise and as small an object as is needed to make it look good.

bajadreamer Loc: Baja California Sur

Yes. Traditional focus stacking usually does not work for me (I almost exclusively photograph birds or frogs) as typically the bird moves, even if slightly, during the sequence. I typically use the clone stamp and Alan Murphy's technique.

11bravo

Agreed. I have no qualms about removing trash, power lines and poles, dangling branches, people, etc. that distract from the image I want to remember.

I have yet to replace a sky but at some point will do so with one I've taken. I've been to Zhangjiajie 3 different times, once had 9 days straight of either rain or overcast, only clearing on the last day. Impossible to return to every site. So at some point, I'll try a replacement.

Likewise, hiking all day, some skies are bound to be flat due to the time of day. But my time is finite and I won't spend a day to get 1 perfect picture when there is so much to see. The photo is secondary to the experience for ME

Klickitatdave Loc: Seattle Washington

In my opinion an artist uses every tool available to create their vision or tell their story. I really have issues with purists who try to restrict creativity by limiting photography to only what you see is what you get. Of course it is great if the subject, lighting and composition comes together perfectly but that is not always a possibility because of environmental conditions. For me whether the photographer manipulates the photo or not is not in and by itself a negative outcome. If it reflects the vision of the photographer and the observer walks away feeling something other than "Oh, that is another pretty photo of the Grand Canyon" then the process has been successful. I guess I am more drawn to photography as an art form rather than a just a profession or avocation. That's me.

CHG_CANON Loc: the Windy City

Every successful photographer is driven by an inner voice telling them everyone else is using PhotoShop.

Klickitatdave Loc: Seattle Washington

From my observations many successful photographers use photoshop some of the time. I have encountered a number of professional photographers along the way who are technical masters but their products are not particularly compelling. What makes Ansel Adams's photos stand out as opposed to the 1000's of photos of the same landscapes by technically adept photographers. I know, Ansel Adams did not use photoshop but I see no harm in using whatever artistic tools available to create the story and vision that you want to convey. The end product is what really matters. The tools of photographic art continue to evolve. Use whatever tools that work for you and create a product that stands out from the crowd.

Longshadow Loc: Audubon, PA, United States

The darkroom was Adams' "Photoshop".

bajadreamer Loc: Baja California Sur

I am not trying to "stand out" but to make myself happy.

bajadreamer Loc: Baja California Sur

Oh you cynic!

Klickitatdave Loc: Seattle Washington

Point taken. Ultimately we need to follow those inner voices that lead us to happiness and away from that which drives our fears. Then maybe we can learn to be kind and respectful of others even if we disagree or are different from them. I hope your path leads you to your happy place.