hi everybody my name is diane covert and i'm a documentary photographer i'm very interested in sort of the cross section between art and ethics almost all my work touches on that somehow and tonight i have put together a little talk about photo journalism and what's happened to photo journalism specifically in the past twenty years or so as we've entered the age of photoshop and it's become easier to manipulate pictures thing than i want to talk about tonight is just an orientation what are the techniques that are used to make a news photograph or really any photograph but especially in the news media so i'm going to talk just briefly about the different lenses the like and where the photographer stands in relationship to the subject because every photograph that you look at whether it's a news photograph or not can be broken down into those three main components the second thing is more specific to the media and that is what story does the image tell because when you see a photograph that is caption and it's in a newspaper or magazine that photograph is attempting to tell a story that is the same story or related to the story in the text so the two have to agree and they will always agree and then thirdly will talk a little bit about the motivations for some of the manipulations that will be looking at so that would be financial considerations or just the need to keep upping the ante making the images more and more emotional across time in order to appeal to editors who make the decision to public so what to publish or in some cases i think it may be political so the photographer has a biases working in a certain area of the world and has a specific bias and manipulator alters the image in order to make it agree with their bias so i'm starting with this picture that i took a long time ago back in one thousand nine hundred eighty in kansas city i was working for the press advance team for the carter white house and this was during his unsuccessful presidential campaign i'm showing you this because it covers a lot of material you'll notice that there are there are a lot of press members both photographers and print journalists pressed up against the glass there and inside the room although i wasn't as journalists i was with them there we were enveloping the president and mrs carter also so whenever you see a pa very prominent public figure that figure is to media these photographs are not one on photographs there are a lot of photographers in there working the same subject secondly you can notice that i'm standing and the sitting obviously but what that does is the shift in height makes it so that he looks more human like you know just because he's a guy eating a barbecue sandwich which is what he was doing he was at arthur bryant's barbecue joint kansas city eating barbecue and the pose or the relationship to the lens kind of enhances the casualness of it and then third it's a slightly wide angle lens and you can tell because the things that should be parallel are not parallel ok this is an ed weston and it's a very different type of a photograph here the lens is below the subject and so a long lens which flattens a subject and any time you're using a camera angle below the subject what you're doing as in hansing whatever the emotion is it doesn't matter what the emotion is you strengthen it so you can usually come up with a single word or two that is  descriptive of the subject in this kind of image you could say that the guy is arrogant or something whatever you want but he's clearly got what emotion that's being conveyed and it's it's just strictly that it's very easy to read this is the same photographer it could even be the same day the same lens and here we have a different emotion it's worried more fearful but again it's heightened in the heightened quality comes from the fact that the photographer is below the subject this is all photographed it does it really doesn't matter with the purposes ok another west and here the cameras i she can see the lens is connecting to her one on one she is made dramatic by the lighting in this case and it's not as long of a lens i think it may just be a normal lens and basically she you can say she's intelligent she is maybe slightly confrontational but but you're able to have a conversation with her she's not above she's not below and this is also western this is igor stravinsky the great twentieth century composer and again same thing dramatic like and direct eye to eye and here we're reading that he's intelligent since we know it's stravinsky we can toss him creative now this is what starts to happen when photographers need more than they're able to get from from what the world has to offer so the top two images were made by a photographer named brian wall ski who was an award winning photographer he in two thousand and one he was the press photography award winner in the state of california he was the top of ta grapher for the state and he's working for the l a times he's in iraq and he has these two images here and apparently either for financial reasons he didn't think they were good enough to get published or because he was very anti war i mean i don't know why but for whatever reason he felt the need to make one image and he strengthened it quite a bit by making this implication that the military guy is sort of threatening the guy that's got the baby he also came in tighter on them you see that so that  the soldier gets bigger this ran and a lot of newspapers including the l a times and the hartford news current of hartford current and the editor i believe in hartford noticed that it was a composite called the editors in l a the people in l a contacted him and and just said tell us anything because they you know they were willing to forgive it but he said no actually i did it i made this composite and they fired him so that was that he lost his job ok none of this is new and i kind of like the civil war photographs by the way that they come from the library of congress so i just want to give you a little background now in the civil war you couldn't publish photographs in magazines you couldn't publish photographs in magazines yet because we didn't have the technology so a photograph could be then an artist could make an engraving from a photograph and the photograph could go into a newspaper or magazine but directly the way we do it now it could not be done so strictly speaking they were not photo journalists however they functioned like journalist day follow the troops they only fall of the northern troops there were no southern sitar prefers that were going with the confederate troops so all the bodies are confederate they were never present in any battle they were only present after the fact and they liked to make pretty composition so these are arranged this isn't really the way it looked and there's been a lot of research done on this again it's oh it's composed too to heighten it a little bit and these two are matthew brady he worked at one time timothy o'sullivan and alexander gardner worked for him and then gardner went off on this own so the next two i'm going to show you have had a lot of research done on them and you can read about it if you're interested in the library of congress site but this is it alexander gardner and it's it's called the rebel dead near the devil's den and it's in the interim tree man that wasn't good enough so he needed to give him a higher rank in order to sell photographs and to impress the public so he and his assistant actually took that body and moved it here there were a total of at least six photographs with the same corpse they moved and they called him a sharpshooter which is better than being an infantry man so the guy got sort of a posthumous bump up in rank and they photographed him and initially i thought to myself well it wasn't photo journalism so it doesn't matter very much but there is this gardener had a book called the photographic sketch book of the civil war and i was reading around and i found some of his quotes about this picture and what he did was in order to sell it he he really really laid it on thick so he's he's describing the horrors of the scene and how the confederate soldier had built up between him to huge rocks and a stone wall and on and on and the trees were splintered and the suffering how he died slowly and how his mother wonders where he is and he just he really really drew it out and he and then he went into a whole thing about having gone back several months later and seen the body small during in the tattered clothing still there and so on but the truth of the matter is that they did photographic analysis of the weapon which by the way it's not a sharpshooter weapon it's an infantry weapon and they were able to find identical rust patterns both of those two images so they know for sure that the photographers were moving the bodies around now this is interesting to me especially because it shows up again in two thousand and six in two thousand and six we have examples of photographers running bodies all over the place i have hard copy out here to show you later they're too disturbing to put into this presentation but ask me about it and i will show you thousand nine hundred has family made the decision to leave austria so he grew up on the lower east side of new york city in the tenements and he was pure in new york here in new york his dad was a rabbi and that meant his dad wasn't working on saturdays and that meant that they were probably poorer than most families he had a very very difficult childhood he became the king of the photojournalist's he was absolutely the dominant figure of his era he slept in his clothes in his apartment which was across the street from the police station next to a police radio he was the only citizen that was allowed to have a police radio and that meant that he often could make it to the crime scene before the police a lot of people think that he also had really good contacts with the underworld but he was just he was great i highly recommend his stuff and he had a stamp made that he put on the back of his photographs with the famous ok and we just he named of self after the  board because you know you used to e g board and you know things ahead of time from the other ok well that's where the name came from although he spelled it differently so he he would show up at these events and for example this one you can see the little girl it's her first murder she's excited it's like the first time you go to a carnival and then the woman behind her to the left is devastated it's probably a relative he was amazing in getting the sort of thing this after my studies i have come to the conclusion that well let's just say it wouldn't stock me i wouldn't be completely stunned to find out that the gun was sort of moved around because it  helps the composition a lot doesn't it it really really works in this kind of shows his wonderful report for with with the police you know the they're all there partying and there's a poor guy that i guess threw the party we would have loved photoshop because he he went off on this whole tangent of doing what he called trick photography i'm not sure how this is done it might be two negatives or it could be one negative moved i don't know what he did here but i can tell you that it was a lot of work because i've been a photographer all my life and photoshop is easier much easier so we would have really fit into this or really any era of photography ok now we're in one nine hundred sixty four the photographer here is arnold newman and it's a portrait of alfred croup and this ran in newsweek magazine in the summer of one thousand nine hundred sixty four and i'm going to show you a better version of it here it's easier to see what you have to realize is that photographers in any era have more than one camera they have multiple cameras and in this case i think he was using a hoss a blot or something so he had multiple back so he had color film in black and white film and this i s o and that i know he took a lot of pictures of this guy but the back story is that the editor at newsweek came to him and said we want a picture of belfort croup alford croup was the head of the crew group recruit manufacturing it was at one time the largest company in europe they were nazis he was an early nazi and early joiner he was a member of the s s which was an elite group i think like one or two percent of all german males belong to the s so this means that he was really really into it not somebody who just got sort of picked up by the time but somebody who cared about this and believed in this very much his company provided most of the for world war two for the german side and so and after the war actually he was convicted of war crimes because they were able to produce all these munitions with slave labor so they would go they built they built factories outside of auschwitz they would take prisoners they would work them to death send them back put them in the gas chambers and bring in another crew and that's how it went so he was convicted of war crimes he was sentenced to twelve years he only served three years and then they gave him his company back so alfred newman jewish guy and by the way i highly recommend watch the interview where he talks about this you can see it on the internet weeds within the past ten or fifteen years i think he's deceased now but he did a great interview describing how the editor came to him and said i would like you to go to germany and do a picture of crook and newman said  i want nothing to do with that i don't want to photograph that guy i don't have anything there's just i don't want it and the editor was like you know what i feel the same way you do you just go right ahead and do whatever you want and so he did so technically how is this picture made there's a very harsh studio light here and a very harsh studio light here they side lit it and didn't allow any like to fall on the face they used he used a wide angle lens instead of a portrait lens which distorts and elongates everything that it photographed so he's making him kind of long and i don't know i mean i guess i can ask you does this look like something that we know from our culture do is there anything in our value system that we can say this guy is he's the devil right somebody said it he's satan so he did this to him he made him look is evil is possible and looking at this photograph knowing everything that i know about what happened to those people the slave laborers i agree with him i don't feel that he did something wrong but nevertheless it's a highly manipulative use of the medium i would go even further i would say that the factory that's behind him looks just like those photographs at the end of the war where those poor people were lined up on the pallets they were all sleeping just want top of the other row after row after row of them i'm sure that newman had that in his head when he made this picture so he did everything he used every tool that we have at our disposal to make this man look as he's probably a perfectly normal looking guy he was probably a normal looking guy but that's what he did ok jumping forward the new york times on september thirtieth two thousand and we're going to talk about this photograph here and i'm going to blow it up ok so it's a close up says and i not sure if you can all read it so i'll just read things and israeli sman and a palestinian on the temple mount and what were you what we have here is a long lens we can tell because the space is compressed that means the photographers kind of far away right and we have a brutal looking israeli police man holding a club and up or beaten helpless palestinian kid and you tend not help but feel real compassion for this kid and i think real rage at the israeli policeman i think that almost anybody looking at that photograph and that caption would feel it right i think so so i consider this probably the most frightening picture in this entire show because this is what really happened here and i i will read it in case there are people in back who can't so it says regarding the picture on page eighty five of the israeli soldier in the palestinian on the temple mount that tells dineen is actually my son to view grossman a jewish student from chicago he in two of his friends were pulled from a taxi cab all traveling in jerusalem by a mob of palestinian arabs and were severely beaten and stabbed that picture could not have been taken on the temple mount because there are no gas stations on the temple mount and certainly none with hebrew lettering like the one clearly seen behind the israeli soldier attempting to protect my son from the mob so i want to really just think about this for a minute this caption with this photograph is exactly the opposite of what happened it isn't just different it doesn't need a little correction it is a complete inversion of reality exactly one hundred percent wrong it's not a policeman they're not on holy ground and it's not a young arab or palestinian  furthermore looking at this picture and everything we know about it now we know the photographer is a ways away and the soldier we know it's a soldier is yelling right so who do we think he's yelling at anybody have any thoughts about who he would be yelling at he could be yelling at the photographer it's a possibility it's more likely that he's yelling at the crowd to chase this kid up the hill to him right now the photographer is standing there with a camera and his or her hand the photographer can answer the question by turning around so that right we would know and so there's really only two possibilities here one is that the caption of this photograph needed to be the way it was because it's embedded in an article in the article a supporting that caption and not the not the truth and the other is at the photographer him or herself made the decision not to take that picture because they were biased if i were putting money on it i would say the picture exists the picture was sent to an editor and it didn't make it into the papers this image was in papers all over the world at that time and it was you can still find it today on websites where they don't like you know the israelis something with your original caption so once something like this is out there it's you can't really take it back you can't take these words back ok so what goes on is that a set is often created in this is this is now two thousand and six lebanon which was the nadir of photojournalism as far as we know it was a terrible period so here we have a fish eye lens a very wide angle lens and here we have a slightly wider angle lens of the same same scene you can see that right that it's the same because of that building with the funny triangles ok i'm just going to read the highlights of these captions the top ones says that the his blood griller group was giving a tour of damage caused by israeli  on his bill a stronghold on july twenty fourth and the photographer is not hosh the bottom one says that this is a less lebanese woman looking at the sky as she walks by building flattened by an overnight israeli air raid on beirut suburbs and it's august fifth two thousand and six same photographer and non hodge so if you think about it they can't both be true the earlier one is the only one that could possibly be widely shown photographers during that summer of two thousand and six during the lebanon war eventually reuters was forced to pull nine hundred thirty images of his all of his work from their database because as he did so much manipulating so much photoshopping so much captioning in correct captioning ok the other thing that went on was props lots of props and it's not so different than the civil war guys moving guns whatever in this case it's mini and mickey mouse dolls and they're very clean in the middle of this war scene and so you don't have to think very hard to understand why mickey and minnie would be in these pictures is it for the lebanese population or is it for the american population who played who grew up playing with these and who has given these to their children and if i'd wanted to i could have shown you like an hour and a half of slides of toys carefully laid out with battle scenes in the background but i  that this is the only one ok we have actors every scene has actors and this woman was really popular she had a great month she did it so here she is again we know it's the same person because she has these unusual marks on her cheek and in this case she's dressed the same so here she's looking at the wreckage of her apartment demolished on july twenty second but here she's reacting to the destruction of her home on august fifth ok so this is two weeks apart what we think was going on i'll sh of her because she's really quite wonderful she yeah she just she be good at like a rock concert too so what she she seems to have been hired by photographers to come with them or maybe hired by the handlers to come with them and present emotion in front of these otherwise you know maybe not so interesting scenes this one the top one ran on the cover of the london magazine the spectator and it also ran on the cover of the socialist workers magazine so the cover was july twenty second and that i think that she could not of it had to have been around the fifteenth of july anyways and then the bottom one is august nineteenth so she was busy through all of july and well into august ok i have a little film here that i want to run everything that we've talked  about shows up in this film but it's a talian journalist young man and unfortunately it's subtitled if you need help if you can't see the subtitles will help you with it he is brilliant he's absolutely brilliant his name is ruben salvatore he was hired to make this these kind of photographs but he in college he was an anthropology major and he said you know it's more interesting to watch with the photographers are doing so he actually filmed with the photographers do and everything that i've talked about you'll see it here but you'll see it kind of in motion as soon as adam gets it up and i know th have that for a second do you guys realize what this is just it's like a some children's television show from the thirty's there is a little toy door there the photographers on the other side have very long lenses and they are just photographing what looks like people with their desperate faces pressed up against the glass you've seen those photographs right it's a set ok think that i think the genius i mean it quite sincerely he's brilliant and i have the next slide up when i'm ok this is two thousand and six u s news and world report lebannon here we have  a militant of some sort and we now know that when we see fire people like to set fires for cameras this was reported that an israeli fighter jet had crashed and was downed turned out not to be true and it's probably too difficult to see but what's burning is tires it's a dump they set these tires on fire and then they pose this guy across the field from the dump so it's really brilliant ok and non hostile i mentioned him before he was the one that was using all the actors he got into heavy photoshopping in two thousand and six and so there was some smoke a little small amount of smoke it was either a bomb or it was a fire i don't know but what he did was he photo shopped it and so you see those those curly cues across the smoke and the photographers can he photoshop it across the space and then he cloned be he called cloning he also clone buildings in there there are additional buildings so he created bombs and he created a more concentrated urban area for the bombs to fall on and somebody told me that this is essential in an accelerant because you have a israelis dropped three missiles turns out they're not missiles they're flares and again with the magic we soko a darker magic but it's it's photoshop magic now computer magic you can just replicate them and make as many as you want so finally reuters decided that they had enough with this guy and they got rid of him and then they told us their policy it says our policy is to send news to our customers only after scrutiny by a group of production editors who ensure quality standards are maintained across all our news services and i'm sure that is their policy but they failed very very badly in two thousand and so they they corrected the error and they got rid of the guy like i said ok now i want to go into this just a little bit more deeply because i consider this in some ways worse and some of the other stuff this is again it's a set it's in lebannon we have actors and the actor that we're concerned with is the guy with the baseball cap off he's got the baseball cap behind him you know backwards he's not wearing a t shirt ok the photographer here is tyler hicks he's won many awards he's probably one of the best photojournalists in the world considered to be one of the top photojournalists in the world and he usually works somewhere in the middle east and this ran in the new york times now if you look in the back you see the same guy you can tell by the cap right you see the baseball ca he's wearing these shorts and he's got a belt there up pretty high think you should notice the shorts ok and the fire right why is there fire fires photograph beautifully the other thing i will tell you about photographers is that we study the history of photography and this could be a cardiac or sonnets beautifully laid out this photograph so it's not like photographers are just six clueless people that are clicking away they understand western culture they understand our history and they understand ok this ran as a body being pulled from the rubble this is the same site the same chute it's one of the next frames over and i want you to really look at that carefully and see if there's any anomalies there does anybody notice anything wrong with this image yeah it's a guy with a baseball cap and i don't know if you can see it on the monitor but he's the new york times says he's a dead guy right the dead guys grabbing the baseball cap how does he do that how did dead people grasp that baseball cap like that if you look at this image really carefully you'll also notice that they've they've kind of tugged his jeans or his pants down a little bit now they're quite low do you see that and  kind of obscured them there something covering i don't know if it's a piece of plastic if it's some thing that they photo shopped over and i'm not sure but they've obscured it and the other thing i would notice they told us that this is a dead body being pulled out of the rubble they corrected that they admitted he was no longer dead but but he's also very clean for somebody who's been in rubble and one trick that some photographers use like if you're  photographing a bodybuilder or something for those kind of magazines the have these guys put oil all over their muscles because it kind of glows for the cameras right it could just be sweat but it looks like they oriel him up a little bit so does he look like anybody to you he looks like a ph which would mean dead christ right does anyone else have any thoughts on the us i compared him to the p a taz but i did my own composite this is the roger vander widen descent from the cross don't laugh because i'll start laughing it's a descent from the cross fourteen thirty five flemish flemish artist one of the most beautiful photo paintings in the world and it lives in madrid now which is kind of interesting for what's coming up so yes hicks is like one of the most famous photographers in the world so the only thing that the new york times said was hoops that's what they said were sorry and there wasn't a lot more to it and originally when people started pointing out the christian iconography because that's exactly what this is christian iconography they are they hemmed and hawed and sorted and i did a little bit and you know they didn't quite see it but i say let's look at this really carefully first of all the metal across the young man here this man is this is a lebanese militant who is cast in a passion play as jesus he's cast as jesus and we're told that he's the de jesus right so you don't have to go very far and pretty soon you're like well who killed who killed christ ok he may have gotten resurrected but it's a very bad path for journalists to be going down but if you look at the detail the exquisite detail like the latter that's used vander white and painted in in his descent from the cross and then the sideways ladder that's made out of metal in the hicks descent from the cross you see it to mazing and then they have the guy tugging on the arms in both cases now the hicks christ is grabbing his  over and the young man in the hicks image is an actor and he can't quite do it some people you know i think most artists here are with me one hundred percent you know i catch obviously a descent from the cross or p eight r whatever some people want to saying hi and i'm not sure journalists would really do that and that was this conflict for a five year period until i had lunch with a friend a few weeks ago and he pointed out just out of the clear blue i hadn't followed this that there was a world press photo award in two thousand and eleven to a spanish photographer named samuel aranda for the new york times now this is yemen ok and better still i got became very interested because it truly is a ph i wondered if others had noticed so here we have n p r the composition alone is a mediately striking whether intentional or inadvertent the image bears an uncanny resemblance to michelangelo's iconic and religious peate along those lines a new york times describes it as having the mood of a renaissance painting well it certainly does ok and in that instance it's not a form of hate speech perhaps you know in yemen but when you're in the middle of a war and you have what you had was israel and hezbollah and you cast the hezbollah guy as jesus being brought down from the cross you're really making a very bad situation much much worse this is the michelangelo p eight ok i'm going to lighten it up i've got this is week i love the so much this is time i think it's march fifth two thousand and twelve friend of mine made me aware of the fact that this is is out there and what they did was a took one hundred fifty little portraits of let's you know people to put on the cover and it's to say that latinos will be the the group that decides the next election who becomes president again unfortunately there was a little  this just amazing this guy michael shannon who appears on the cover photo on the top row kept hidden by the letter am says he is half white half chinese and definitely not latino and he's a photographer he's a staff photographer for the arizona republic and he said they didn't ask him and they didn't ask for release and the magazine says sorry that's what they say sorry it turns out that one or two other people who are on that covered have come forward and said i don't mind being on the cover at all i'm happy with it but i also was not asked to sign a release so you know it's not the worst thing that ever happened but it shows the trend the trend is what it is they photographed people that they thought looked like tino and they put them on the cover and the title is to let you know it will decide well there's there's i don't know i mean maybe they felt lazy maybe they felt kind of maybe they felt pressed and that this was a handsome young man or something there there are there are a lot of possibilities now they just said we're sorry ok so i'm going to close up here pretty quickly but this is from two thousand and seven the national press photographers association summit in portland oregon after two thousand and six again two thousand and six was a terrible year it was i hope it was terrible because they behave badly and not because they just got caught in large numbers i'm not sure but this says that the photo journalism ethics problem seems to be a lot deeper than we feared and this is the chairman of the ethics and standards committee and he said that they they asked for a show of hands of people who had worked with a peer or taught somebody or been in touch with the journalists who were to routinely crossed ethical boundaries and the show of hands was a scary thing to see so it's it's a well known problem now this is the ideal this is i think the dallas news or stella's morning news or something building in dallas and this is the ideal build the news upon the rock of truth and righteousness and conducted always upon the lines of fairness and integrity acknowledge the right of the people to get from the newspapers both sides of every question so i just have a couple concluding comments here when you look at a photograph in on the internet in a newspaper in a magazine try to imagine the scene as it probably was imagine the lens that was use you now have the tools to do that where was a photographer sting imagine the crowd and then be a little bit skeptical because they have kind of a long history playing fast and loose with the truth and i think that if we all do that we will discourage this practice moving forward because this this sort of thing  harms our ability to know what's going on ahead a man's who works in justice truth and justice i'm losing the word committees commissions and he said that he's been in a lot of these hot spots and he never knows what to believe anymore because he has a sense of not being able to trust journalists so it's happening they know that it's happening they know that they have a problem and i think that some of them are very biased and what the examples i had had to do with israel but you could have examples i'm sure from many other conflicts it's just the two thousand and six in lebanon was particularly odious and were there very biased some of them but what did they say when they want to say that the public is demanding this the public is looking for this heightened emotional reaction and  the photographers are providing it and i didn't say this and i should have certain photographers who are very good like wall ski and a non hodge's probably a great photographer paid with their career for what they did here but the editors can just publish a little thing that says sorry they're absolved they're completely of us outright there's no they don't lose their jobs nothing happens to them so so these photographers are under you know i'm a photographer and you can tower i'm kind of going with it but there are just huge pressure to produce an image that will sell and this hard copy that i have out here you will see the same image over and over the london in ireland in new york and washington the same image so you're trying to get that one picture that gets bought repeatedly and it's their livelihood so we are feeding into it i think  you're saying who isn't complicit we don't know we have indications that they might be complicit because for example the newsweek editor told arnold newman i don't care what you do just do it and then the l a times editor tried to get some kind of a break for for brian wall ski because he wanted to hold onto a music good photographer it's like you know do you want to tell me something something different then i made a composite and al like nope i made a composite so he apparently just was sick of it and didn't want to do it anymore i think oh that funny is into my question or comment which is that i don't see how the editors cannot be complicit and i think it it runs up and down the line it what your presentation showed me was a continuous line from the photographer who provides the product manufacturers the image that the editor wants or select from but the photographer may have made many other images did that make it may be exculpatory toward a particular image that may be a tell an entirely different story you've mentioned the temple mount scene there may have been dozens of other images that would have shown but that's not the image that was selected and the caption reinforces the lie the image tells a lie but it's one image the image  creating a narrative and why do they create a narrative there's a demand because editors are supposed to set help sell newspapers or bring viewers to television programs and there seems there might be it would seem to me a preconceived notion that they're trying to plug into and appetite they're trying to satisfy commentary not a question you know now i agree with you i mean i think that one group alone could not do it you have to have it's a it's a machine so it's got to go from the photographer to the editors to ever puts it out onto the internet and gets picked up by commentators who then write oh oh what's going on i my a solution to it is that whenever they're caught instead of being permitted to do a little two inch or one inch correction i think that the correction should run in precisely the same place as it ran before as the original image ran before so in other words the correction if it was a mistake on the front page and it was this big the