The Subjective Truth of a Photograph: From Artistic Expression to the Ethics of the Image

The photojournalist W. Eugene Smith is famous not only for his humanist reports, but also for having coined (or in any case supported) a guiding principle that is far from obvious: “Let the Truth Be the Prejudice”. This is the title of an important monograph dedicated to him, but it also becomes an emblematic phrase of his approach to photography: instead of demanding absolute illusory 'objectivity', Smith invites recognizing that all truth is inevitably filtered by the photographer's choices and intentions.
This opens us to reflect on the very essence of photography. Every image—even the most “documentary” —is the result of interpretative passages: perspective, composition, moment of shooting, intensity of light, fine-tuning and post-production. Tutti these elements influence the visual narrative, making the photograph closer to a form of story than to a simple mirror of reality. W. Eugene Smith's invitation to 'let the truth speak, despite prejudices, 'underlines that 'photographic truth' is never an absolute fact, but a construction in which the subjectivity of the author (and, by the way, that of the spectator) plays a fundamental role.
It is therefore misleading to believe that the camera, for the mere fact of recording moments, produces completely objective images. In reality, every portrait, every war report, every street shot, reflects a vision. The more aware you are of the interpretative and, at times, manipulative power of photography, the more critical readers of this language become. On the contrary, ignoring it means running the risk of confusing a Partial truth With a absolute representation of events.
“Let the truth be the prejudice” is therefore not just a title; it is an invitation to face our expectations and to understand that the truth of a photo is inseparable from the photographer's choices and from our eyes. In other words, photography works like a prism that breaks down reality and recounts it according to subjective coordinates: a prism that can deceive us, if we do not understand its interpretative nature, but that at the same time offers us infinite possibilities of narration.

‍Photography and Subjectivity: An Evolving Concept

Historically, photography has been viewed as an objective means of capturing reality. In the years of classical photojournalism, figures such as Henri Cartier-Bresson and Dorothea Lange they were considered unbiased witnesses to history. Their images, often dramatic and penetrating, told stories of war, poverty and resistance, leading the viewer to believe that they were seeing the 'truth'.
But, how do you explain Roland Barthes in his essay The clear room, photography is never neutral. Each image represents a vision filtered by the photographer's choice, an “interpolation between reality and its representation.” Barthes defines this tension between subject and vision with the concepts of 'studium' and 'punctum': the first represents the cultural aspects that we can rationally understand, while the second is the element that affects emotionally, often in an unconscious way. Each spectator reconstructs the truth of the image based on their personal experience.
According to the psychologist John Berger, photography is an act of interpretation. In his book Ways of Seeing, Berger emphasizes how each image is read and interpreted through the lens of personal experiences, emotions and cultural context. This means that the same photograph can convey different meanings depending on who observes it. This introduces an element of subjectivity not only in the act of taking a photograph, but also in its being observed and interpreted.

‍Unintentional Errors and Decontextualization

In addition, the photographer's distraction, a calculation error or a wrong technical setting — such as a wrong focal length — can transform a photograph into a distorted representation of reality. The image could exclude crucial elements of the context, both before and after the immortalized event, thus altering the narrative. This leads to what Barthes calls' punctum ', a point that captures attention but does not always represent the entirety of the story.
According to the sociologist Pierre Bourdieu, photography is always the result of a social act. The photographer, through the selection of a scene or subject, exercises a power to define reality, both for what he shows and for what he excludes. In this sense, the photographic act can be transformed into a form of narrative control, even unintentionally.
Photographs, if decontextualized, can tell different stories than what actually happened.

‍The Iwo Jima Soldier (1945)

One of the most iconic shots of the Second World War is the photograph of Joe Rosenthal which shows US soldiers raising the American flag on the island of Iwo Jima. The image became a symbol of victory and American patriotism. However, it is less well known that that particular photograph was not the first flag-raising, but a Second orchestrated pose for photographic purposes. The original context — a symbolic act repeated for media reasons — was often omitted, and the image was presented as an authentic and spontaneous event, helping to create a heroic narrative that concealed the complexity of the real situation.

‍The Case of Tommie Smith and John Carlos's Photography at the Mexico City Olympics (1968)

A historic example of decontextualization is the famous photograph of American sprinters Tommie Smith and John Carlos during the award ceremony of the 1968 Mexico City Olympics. In the photo, Smith and Carlos raise their fist in black gloves while listening to the national anthem, a powerful gesture that became a symbol of the fight for civil rights and against racial discrimination in the United States.
Although the image has remained an iconic symbol of resistance, its decontextualization has often omitted a key detail: the solidarity shown by the third athlete on the podium, the Australian Peter Norman, who wore an Olympic Project for Human Rights brooch in support of the gesture of the two Americans. Often excluded from the visual narrative, Norman suffered serious consequences for his gesture of solidarity, but the context of his participation is often forgotten, reducing the image to a simple act of defiance by Smith and Carlos, rather than a manifestation of global solidarity.

The 'Hero Boy' Photograph in the Hong Kong Protests (2019)

In 2019, during the Hong Kong protests against the extradition law, a photograph of a young Protestant facing a line of police officers alone went viral on social media. The image, which showed the boy with his hands in the air, became a symbol of peaceful resistance against government repression. The photograph was quickly released under the title 'Hero Boy', reinforcing the narrative of a heroic struggle of the demonstrators against law enforcement.
However, when the original context was discovered, the story changed dramatically. The young man was not involved in the protests at all, but was accidentally in that position while trying to cross the street during a fight between police and demonstrators. The photograph, decontextualized, had created a completely different narrative, which amplified the message of resistance but distorted the truth of the event.

The Truth of an Image and the Credibility of the Source

A crucial aspect in the discussion about the subjective truth of photography is the relationship between the image and the credibility of the source. Often we tend to consider an image to be true only because it comes from a source considered reliable, such as a professional photographer, a news agency, or a prestigious news organization. However, the authenticity and reliability of the source are not absolute guarantees of truth.
A photographer's political ideology or personal propensity can unconsciously influence the way a scene is immortalized, altering the viewer's perception. The social psychologist Leon Festinger, with his theory of cognitive dissonance, reminds us that people tend to interpret information in a way that confirms their pre-existing beliefs. This can also happen to photographers, who may unconsciously frame or compose an image in such a way as to emphasize a particular aspect of the scene, reflecting a subjective, albeit involuntary, point of view.
An emblematic example of ideological manipulation was the symbolic shot of the Cuban Revolution of Che Guevara, which over time has been reinterpreted and reused in contexts and ways that have transformed its original meaning. Susan Sontag, in his essay On Photography, affirms that photography is always the result of a choice: the angle, the moment and the selected subject meet criteria that, even if not deliberately, can be influenced by personal values, political convictions or ideologies.

Kevin Carter: The Child and the Vulture (1993)

The famous photograph of Kevin Carter, which portrays a malnourished child in Sudan crouching next to a vulture, is another case of an inverted narrative.
• Interpretation error: Many newspapers, including the New York Times and other international newspapers, used the image to denounce the humanitarian crisis in Sudan, but some journalists openly criticized Carter for not helping the child, insinuating that he had preferred to take the photo rather than save a life.
• Correct context: Actually, Carter had been unable to do more for the child, who was near a rescue camp. The photographer's narrative of 'non-action' distorted the meaning of photography and the reality of its limitations in the context in which it operated. Carter was devastated by the criticism he received and, although the photograph earned him the Pulitzer Prize, the weight of guilt accompanied him until his tragic death.

Eddie Adams: The Execution of the Vietcong (1968)

The photograph taken by Eddie Adams during the Vietnam War, which shows the South Vietnamese general Nguyễn Ngọc Loan shooting in the head of a Vietcong prisoner, is one of the most striking examples of a reversal of context.
• Life Magazine and The New York Times they published the photograph with dramatically different interpretations:
• Life Magazine used the photo to symbolize the brutality of the Vietnam conflict, in particular the cruelty of the forces allied to the United States.
• The New York Times inserted the photo into a wider context of the war, explaining how the execution was part of a desperate moment in the fight against the Vietcong, and underlining the atrocities committed by both sides.
• Interpretation error: Some newspapers presented the image as a symbol of the unjustified brutality of the conflict and the dehumanization caused by the war, portraying Loan as a ruthless monster.
• Correct context: Adams himself later stated that the image, out of context, had distorted reality. Loan was executing a Vietcong guerrilla who had just carried out violent actions (including the killing of Loan's own friends and family). Adams regretted the narrative that followed the release of the photograph, stating that the photo had unjustly condemned Loan in the eyes of the world.

‍Voluntary Manipulation and Propaganda

In addition to unintentional errors, there are cases in which the manipulation is intentional and aimed at supporting a specific narrative. In journalism and politics, the use of photography as a propaganda tool is well documented. Joseph Stalin, for example, was known for having official photographs modified, eliminating disgraced characters from his regime.
Even in situations where there is no explicit manipulation, photography can present a version of reality that responds to a precise narrative. War photography, for example, often excludes images of devastation and suffering to instead show moments of heroism or patriotism. Susan Sontag underlines how photography can be used to anesthetize or spectacularize human pain, serving political and ideological objectives.

The Paul Hansen Case: “World Press Photo 2013”

‍In 2013, the Swedish photographer Paul Hansen won the World Press Photo of the Year with a dramatic image showing a funeral procession in Gaza. However, shortly after the victory, some experts raised doubts about the veracity of the image, accusing Hansen of digitally manipulating the lighting in the photograph to increase the emotional effect. An investigation revealed that Hansen had used post-production software such as Photoshop to combine different shots, balance exposure and improve scene lighting. Although Hansen stated that he had not altered the content of the scene, the controversy sparked highlighted the delicacy of ethics in photographic manipulation.
Although the photo had not been disqualified, the debate prompted many to reflect on how acceptable it is to manipulate an image without betraying the truth of the moment. The excessive use of post-production may risk leading the observer to interpret the photograph in a more emotional way than the reality represented would justify.

Narciso Contreras: A Revoked Award for Manipulation

‍The case of Narciso Contreras is another example of manipulation that has had serious consequences. Pulitzer-winning photojournalist, Contreras was exposed in 2014 for manipulating an image taken during the Syrian civil war. Specifically, Contreras had digitally removed a video camera from one of his photographs, justifying the retouching as an attempt to improve the composition of the image. However, this manipulation violated the strict ethical standards of photojournalism.
The Associated Press (AP), for which Contreras worked, decided to revoke his collaboration, a drastic decision that reflects the importance of maintaining the integrity of images in photojournalism. The act of removing an element of the scene not only distorts the reality represented, but also compromises the credibility of the photographer and the organization for which he works.

‍Souvid Datta and the Image of Mary Ellen Mark

The photographer Souvid Datta was the protagonist of one of the most controversial cases of recent photographic manipulation. In 2017, Datta was accused of having digitally superimposed parts of an image of Mary Ellen Mark, a legendary documentary photographer, in one of her photographs. The manipulated image was part of a documentary project about sex workers in India.
This gesture, in addition to representing a clear violation of professional ethics, has discredited all of Datta's work. The accusation of stealing the work of another photographer not only compromised his credibility, but also damaged the meaning of his images. Datta himself admitted the mistake, describing his act as a 'wrong decision' taken during a time of mental and professional fragility.

The Impact of Manipulation on Photographic Truth

These cases raise an important question: how much can you manipulate an image without betraying the truth? As observed by visual communication scholars, such as John Berger, photography is already in itself a subjective interpretation of reality. Every choice, from framing to light, helps create a specific narrative. However, when the manipulation becomes intentional and systematic, it enters an ethically ambiguous field.
In a global context where images are consumed rapidly on social media and traditional media, the credibility of the source is often taken for granted. However, as the cases of Hansen, Contreras, and Datta show, even the most reputable sources can make mistakes. Personal ideology, technical error or simple distraction can lead to a distorted representation of reality, which can have significant consequences on the interpretation of historical or social events.

Ethics and Responsibility

The responsible use of photography is a very topical issue. Photographers like James Nachtwey, Don McCullin and Lynsey Addario they were faced with ethical dilemmas related to the representation of suffering and war. The ethics of photojournalism requires continuous reflection on how to balance the obligation to document with respect for the subjects and the context.
In the modern media landscape, dominated by social media, the subjective truth of images becomes even more fluid. Images can be retouched, taken out of context or used in ways that alter their original meaning, as demonstrated by the numerous cases of visual 'fake news'. The truth of an image, therefore, does not depend only on its technical quality or on the credibility of the source, but also on the responsibility of those who disseminate it and those who interpret it.

The Case of Fabienne Cherisma and Ethical Criticism

Another significant example is the story of Fabienne Cherisma, a 15-year-old girl shot to death during looting following the earthquake in Haiti in 2010. The photograph of his dead body, surrounded by debris, became one of the symbolic images of the Haitian tragedy. However, the ethic of photography was called into question when it was discovered that many photojournalists were present at the time of the shot, each portraying the scene from different angles. Some photographers have been accused of insensitivity, since they had focused more on the aesthetics of the image than on the ongoing human drama. This case highlights the ambiguity between documenting and spectacularizing suffering, and the role of the photographer as a narrator of reality.

O.J. Simpson — The Cover of Time and Newsweek (1994)

One of the most well-known errors regarding image manipulation occurred during the trial of O.J. Simpson in 1994. Time Magazine published an altered version of his mug shot, darkening his skin and accentuating the shadows to make it appear more menacing. On the contrary, Newsweek posted the same photo, but without changes. This led to a strong criticism of Time, accused of racism and wanting to condition public opinion against Simpson, presenting him in a negative light compared to the more neutral representation of Newsweek. This case is often cited as an example of how editorial changes can alter the perceived meaning of a photograph.

Subjective Truth and Social Photography

Photography not only documents events, but it also interprets emotions and personal stories. The work of Sebastião Salgado, for example, explores the lives of individuals in the world's poorest regions. Although his images are visually powerful and touching, Salgado has been criticized for aestheticizing pain. His photographs, as well as those of other great authors, show a truth, but they are never without subjectivity. The photographer decides what to show, what to obscure and how to represent the subject.
In this context, the psychology of perception plays an important role. The studies conducted by the philosopher Vilém Flusser explore how the camera itself influences the creation of meaning, concluding that the photographer's technical choices (such as focal length or exposure) influence the way in which reality is interpreted by the viewer.

‍Philosophy and Photography: The Essence of Truth

Philosophical reflection on the truth of photography leads us to consider the thought of Susan Sontag, who in his book On Photography affirms that images, while representing fragments of reality, can also anesthetize the public. According to Sontag, continuous exposure to images of violence or tragedy leads to desensitization, creating an emotional distance between the observer and the suffering represented. This raises additional ethical questions about the power of images in shaping our perception of reality.
In a similar way, Jean Baudrillard, one of the most influential philosophers of postmodernity, affirms that photography can create a 'simulation' of reality. In his concept of a simulacrum, Baudrillard explores how, in an era dominated by media and technology, images no longer reflect reality, but create new realities that exist only as images.

The Photographic Truth in the Age of Social Media

Today, with the explosion of social media, the subjective truth of images is more relevant than ever. Platforms such as Instagram and TikTok they show us a curated version of everyday life, where each image is studied, filtered and manipulated to present an idealized reality. This phenomenon raises new questions about authenticity and the influence that images have on our perception of ourselves and others.
‍Sherry Turkle, psychologist and sociologist, in her book Alone Together, explores how our constant interaction with digital images is altering our social relationships and our identity. The truth, in this context, becomes even more subjective and fragmented, as we construct our image through photographs that present a selective reality.

Photography as a Mirror of Subjectivity

Since its origins, photography has always represented more than a simple reflection of reality. Through the lens, the photographer not only captures a moment, but it interprets and reinterprets it. The 'truth' that we see in a photograph is always a subjective truth, filtered through the photographer's stylistic, ethical and emotional choices. As W. Eugene Smith said, photography is never an absolute fact, but a window on the world as it is perceived by the artist behind the camera.
In an era of increasing manipulation of images, it is essential to question what it means to represent the truth and what responsibilities photographers have in the digital age. Photography will continue to be a powerful communication tool, but it will always require a critical eye on the part of those who create it and those who observe it. Because if it is true that photography can 'lie', it is equally true that the awareness of its intrinsic subjectivity makes us participants, and no longer victims, of what we see.

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