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SportsShooter.com: Member Message Board

Paul Hansen Photo
Paul Hayes, Photographer, Photo Editor
Littleton | NH | USA | Posted: 12:41 PM on 02.18.13
->> Does anyone know the story behind the lighting situation for Paul Hansen's award winning photo of Palestinian men carrying two children's bodies? Is it from TV cameras? The reflection of sunlight off metal?

http://www.pdnonline.com/news/Paul-Hansen-Wins-201-7468.shtml
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G.J. McCarthy, Photographer
Dallas | TX | US | Posted: 1:17 PM on 02.18.13
->> Have you considered emailing him and asking yourself?

http://www.paulhansen.se/

Seriously, I've reached out to folks before with questions, etc., and even though it may take some time, many do usually reply. It's surprising, but in a nice way.

Cheers,

- gerry -
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John Stubler, Photographer
San Jose | Ca | USA | Posted: 2:07 PM on 02.18.13
->> It looks like natural light to me. I think Paul Hansen benefited from the narrow alley. It seems to me that the walls of the buildings in the alley acted as a reflector, bouncing the light onto the people processing through the street. Could be wrong, but that's my guess.
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Michael McNamara, Photographer, Photo Editor
Phoenix | AZ | USA | Posted: 2:07 PM on 02.18.13
->> Call me crazy, but I don't want to know.

I absolutely love the image. It is a wonderful moment in an unbelievably tragic situation. I cannot imagine the grief involved.

I usually like knowing technical details behind how images were made, but for this one, I want there to be the mystery. I want to think about the subjects, not the nitty-gritty.

(I'm not trying to tamp down the thread...I'm just giving my perspective)
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Matthew Hinton, Photographer, Assistant
New Orleans | LA | USA | Posted: 2:37 PM on 02.18.13
->> "These situations are so visually complex," he added. "It's difficult to convey the emotions, to translate what is happening. The light is harsh and there are a lot of people.

"But in the alley the light bounced off the walls, so I thought this is a place where you can see that it's a procession. ... You get the depth in the image, and the bouncing light."

Read more:
http://www.nydailynews.com/news/world/swedish-photographer-wins-world-press...
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G.J. McCarthy, Photographer
Dallas | TX | US | Posted: 3:00 PM on 02.18.13
->> There you have it. Nice find Matthew. It's what I figured, too, but I always hate to assume, especially publicly, and especially in a flame-prone place like this message board.

And Michael, agreed.
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Paul Hayes, Photographer, Photo Editor
Littleton | NH | USA | Posted: 6:18 PM on 02.18.13
->> Thanks Matt!
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Greg Kendall-Ball, Photographer, Assistant
Columbia | MO | USA | Posted: 8:02 PM on 02.18.13
->> I'm just glad this one (and really, none of the spot news winners) made it onto POYiCats...
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John OHara, Photographer
Petaluma | Ca | United States | Posted: 10:31 PM on 02.18.13
->> A photographer who knows how and what is a good thing. This was a moment, to be sure. The ability to adjust the tones and contrast ranges of a digital file is something that a true professional can benefit from. While I do not know Mr. Hansen or his work. I would say he has command of his camera and the software to produce a very strong image.
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Paul Hayes, Photographer, Photo Editor
Littleton | NH | USA | Posted: 10:09 PM on 02.19.13
->> A postscript to this, an article (translated) from a French magazine on the photo with comments on its editing:

http://translate.google.fr/translate?u=http://culturevisuelle.org/icones/26...

And the alleged original photo, alongside the edited award-winning version:

http://www.flickr.com/photos/gunthert/8485283411/
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Scott Serio, Photo Editor, Photographer
Colora | MD | USA | Posted: 1:15 AM on 02.20.13
->> The folks over at Photoshelter weren't quite as willing to believe the photographer made the best of the moment. Almost unanimously they said the image was manipulated. Kind of brutal comments and assumptions if you ask me.

http://blog.photoshelter.com/2013/02/why-do-photo-contest-winners-look-like...
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Kent Nishimura, Student/Intern, Photographer
Honolulu | HI | USA | Posted: 1:55 AM on 02.20.13
->> this discussion reminds me of this article i read in BJP awhile back...

http://www.bjp-online.com/british-journal-of-photography/feature/2133918/po...
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Matthew Hinton, Photographer, Assistant
New Orleans | LA | USA | Posted: 10:15 AM on 02.20.13
->> There seems to be a thing nowadays were if an image is unique and unusual it must be manipulated, which is obviously not the case with this image.

As far as the post with the link to two images. One image was from the Swedish publication "Dagens Nyheter". So the difference in colors is probably due to a difference in color profiles or how the publication chose to interpret the photo for its own website or its printing inks.

The image shown from the publication is most likely a from a pdf or some other file which has gone through one or two changes in color profiles and changes from a pre-press workflow.

Most pre-press and lab technicians add lots of a saturation as matter or course as part of the production workflow especially for the printing press which soaks up ink and thus some saturation in the process. In other words the image is over-saturated to compensate for the amount of ink soaked up by the paper.

So please don't start comparing press clippings or different website images to say one image is an "original".

Occasionally when a photo is popular and printed in multiple newspapers and magazines you can see a lot of variations of the same image. A lot of images will look over-saturated in some publication with lots of noise but if you look at the NY Times printed paper there is usually hardly any noise and the saturation is not over-powering there. There are different workflows and lab technicians at each paper and also different software that may auto-correct an image differently.

If you are editing a photo for a quick deadline, you are going to do very little toning and editing. This is because you want the pre-press / lab technicians to have a lot of information to work with. You will likely send the image in as AdobeRGB or a profile specific to your publication. This is will be different than sRGB which is better for web display. And you'll probably be sending several images so you won't have time to do a lot of nuance.

Later when you have time to sit down in a room with controlled lighting instead of editing in your car or whatever place to meet your deadline, you will do more toning. You'll bring out more in the shadows and tone down some of the highlights. So an image for a contest or a gallery is going to look a lot better or different than something uploaded quickly to meet a deadline. This is not manipulation if these tones exist in the image.

It's only manipulation when things are removed or added like these photographers
http://blogs.dailyrecord.com/photojournalist/2009/02/11/photoshop-for-dummi.../

This image is unusual because it uses reflected light from a man-made building. For those not used to walking around cities at different times of day this light may seem unusual but it's not manipulated and it's not fake. Walk around any city especially next to a building with a lot of windows and you will see light that looks like a "movie" as the window or other building surfaces reflect light onto people on the street. I think most of the controversy of this image on other sites comes from people's ignorance of this type of reflected light.
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Bradly J. Boner, Photographer, Photo Editor
Jackson | WY | USA | Posted: 11:05 AM on 02.20.13
->> "It's only manipulation when things are removed or added..."

I disagree. Manipulation can most certainly include excessive toning. There's a number of examples of this.

That being said, I don't think this photo has been toned excessively.
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Scott Serio, Photo Editor, Photographer
Colora | MD | USA | Posted: 11:26 AM on 02.20.13
->> I think there is a vast difference between manipulation and the photographer "printing" or "toning" an image as they see it. Even before digital darkrooms, there was never a requirement to make the printed image look exactly as it did in a negative. Back then it was based on the limitations of the silver halide crystal, now it is based on the limitations of the pixel. Either way, there is always some latitude in the finished product.

I don't know about everyone else, but I usually piss of people who want to buy prints from me. I don't "see" 8x10 or 5x7. I "see" the image in my head and I shoot it with the end look in mind sometimes.

I think a large part of this one photo is how Hansen saw the image. He probably saw the photo exactly the way he entered it. Why is it brighter for the newspaper? Well, you would to have worked for an actual newspaper and had to deal with shadows getting all blocked up and inky to understand that. Which may just be why some folks are having trouble with this.

The way you print for newsprint is not the way you print for a magazine and definitely is not the best way to spin out the finished product for a contest entry or a gallery exhibit.
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Matthew Hinton, Photographer, Assistant
New Orleans | LA | USA | Posted: 11:58 AM on 02.20.13
->> I agree Brad, bad wording on my part.
Let me rephrase to
"It's definitely manipulation when things are removed or added. . ."


O.J. Simpson's overly darkened mugshot by Time magazine comes to mind.
http://www.museumofhoaxes.com/hoax/photo_database/image/darkened_mug_shot
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Paul Hayes, Photographer, Photo Editor
Littleton | NH | USA | Posted: 12:48 PM on 02.20.13
->> "So please don't start comparing press clippings or different website images to say one image is an "original"."

You're correct Matt. My mistake. Wish we could edit posts here. ;)

And yes, photos have to be adjusted for print publication.

But I like that this thread has delved into the topic of photo manipulation and adjusting and such. I think it's always a worthwhile conversation given the constantly evolving intersection between technology, ethics and professional opinions.
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Michael Prengler, Photographer
Dallas / Ft. Worth | TX | USA | Posted: 1:54 PM on 02.20.13
->> Sometimes natural reflections occur that cause an image to look overly "worked". I'vd noticed reflected lighting on quarteback's faces that go under center when their team is wearing light colored jerseys. The light looks fake because the other players faces are dark inside their helmets while the quarterback looks like someone is holding a reflector aimed at their face.

I've thought to myself when editing that someone is going to think I masked and brightened a face because the lighting on the face looks much different than the rest of the image.

http://tinyurl.com/ah2836d

http://tinyurl.com/bfqvdfc
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Jacob Langston, Photographer
Orlando | FL | | Posted: 2:32 PM on 02.20.13
->> Wow, there seems to be a lot of talk about this particular image.

I want to be very clear, I am not calling the image unethical. That being said, this specific photo as toned for the contest makes me feel uncomfortable as a photojournalist. That is the best way that I can describe it.

Again, I am not saying he did anything wrong. I would just never tone an image that way.

I would love to see the original raw file, not the original-toned version-before-being-toned-again version.
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David A. Cantor, Photographer, Photo Editor
Toledo | OH | USA | Posted: 3:52 PM on 02.20.13
->> A thoughtful analysis:

https://nppa.org/node/35533
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Matt Cashore, Photographer
South Bend | IN | USA | Posted: 4:23 PM on 02.20.13
->> For those who might not read the NPPA article, it links to a side-by-side comparison of the image as it appeared in the WorldPress contest vs. how it appeared when first published in Sweden.

http://www.flickr.com/photos/gunthert/8485283411/

The contest version of the photo is significantly different from the originally-published version.

As originally published the light looks more natural--more like I'd expect on a sunny day in a narrow alley in that part of the world.

And it's still an outstanding, powerful emotional photo. I wonder why anyone felt it needed to be worked on further to enter in the contest.

I think it is appropriate to talk about the craft in addition to the moment. It's a *photography* contest after all. I'm curious how those deemed best at the craft DO the craft...ya know?
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Matthew Hinton, Photographer, Assistant
New Orleans | LA | USA | Posted: 7:22 PM on 02.20.13
->> Cashore we previously discussed this link so please look back through the other posts.
http://www.flickr.com/photos/gunthert/8485283411/

I'll add another point. I'm hoping am wording this correctly, I'm describing a technical process used by many printing operations, I'm not saying every person has a certain ratio for a skin tone.

Most pre-press and lab techs are often trained to look for skin tone ratios.

Usually the ratio is R < G < B in RGB to get a "good" Caucasian skin tone. Other ratios are used in CMYK for press production as described here.
http://www.graphicconnectionkc.com/skin-tone-correction.html

As a quality control many newspapers use a color densitometer and grade printed images based on the skin ratio and other things like density of a gray bar and dark and white points. This grade is usually relayed to the lab techs, pressman, and photographers and in the past awards like SNAP certification were given for good reproduction. I know from personal experience that Gannett graded all newspaper reproduction this way.

Therefore it wouldn't surprise me that a Swedish newspaper would tone most images making the people in the photo have a pinkish / magenta complexion like the Lt. Caucasian ratio in the skin tone article. The "original" obviously looks more pink / magenta.

However the skin tone ratios as evidenced by the CMYK article are different for various people around the world.

Take Egyptian actor Omar Sharif and part Armenian "actress" Kim Khardaisan and compare how their skin tone ratios look compared to Swedish actors like Alexander Skarsgård, or Ingrid Bergman or her daughter Isabella Rossellini. Obviously there are variations between the flesh tones of people from the Middle East / North Africa and those of Nordic areas. And obviously all of these actors and actress are considered good-looking regardless of their skin tone ratios.

The winning image was toned by the photographer, who was there. The "original" image probably went through some sort of toning at the newspaper for the web where it's entirely possible that images are toned and graded for a Lt. Caucasian skin tone ratio. Middle Eastern people would tend to have a middle Caucasian or Dk. Caucasian skin tone ratio that more closely resembles the winning image.

The "original" has more contrast, more saturation, and a light pinkish skin tone. It's also been heavily sharpened. It looks more heavily toned to me than the winning image. The winning image looks more "raw" to me and has more detail in the highlights and shadows and has a more natural skin tone.

So it's almost like some are making an opposite argument by favoring the heavily-toned "original" image than the more raw looking winning image.
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David A. Cantor, Photographer, Photo Editor
Toledo | OH | USA | Posted: 5:09 PM on 02.25.13
->> A worthwhile read.
http://blogs.nppa.org/ethics/2013/02/25/digital-processing/
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Jacob Langston, Photographer
Orlando | FL | | Posted: 8:44 PM on 05.13.13
->> Just saw this. Not saying it is true, I'm just providing a link that appears to be new.

Interesting to see how it all plays out.

http://www.extremetech.com/extreme/155617-how-the-2013-world-press-photo-of...
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Brian Blanco, Photographer
Tampa / Sarasota | FL | USA | Posted: 9:47 PM on 05.13.13
->> Look, I'm not defending the toning job done on that photo. Yes, he toned the LIVING-HELL out of it. Ok, we got that out of the way...

Now, I have to be honest with you, I'd have a harder time defending this 'article' (the one Langston linked to above) than I would defending the photo submission itself. The headline and the body of the article call the image "faked" yet the author presents zero evidence to suggest that anything has been added or removed or that the scene was staged.

The author goes into great detail about how this thing was damned near toned into a modern-day Rembrant (and I agree) but that doesn't change the meaning of the image, or the news value of the moment. Yes, it changes the image's aesthetics, but unless you've been living in a cave you know that ALL of the photojournalism contests (particularly the international ones) LOVE, no, they straight up ADORE over-toned images.

My guess is that Hansen had a jaw-dropping frame straight out of the camera; a frame that any one of us would be proud of, but he knew that without adding more glitz than a Holiday Inn banquet hall beauty pageant, it'd be 'out' in the first round.

Me? I think contests are a waste of time and I gave up "shooing-for-contests" the day I left my staff job where they required us to enter every year. I've seen what wins these big international contests and it appears that, any more, you have to not only "shoot-for-contests" but you also have to "tone-the-living-hell-out-of-your-frames-for-contests" too. No thanks; not me.

My guess is that Hansen, like the rest of us, has seen this stupid trend too. So, does the fault lie with the shooter who made his image competitive in this 'people-must-look-like-robots-to-win-contests' reality that we're in or does the fault lie with the contest judges and administrators for voting for this over-toned crap year after year?

So, again, was it toned WAY too much? Yes. Would it have received a second look had it not been? Well, look at the winners from the past 7 years of the big international contests (and even domestic and local ones too) and my guess is you'll have the answer to that.
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Brian Blanco, Photographer
Tampa / Sarasota | FL | USA | Posted: 10:14 PM on 05.13.13
->> So, someone whose opinion I trust says he's seen the RAW file from Hansen's photo and that there was very little toning done. If that's true, and I believe it is since I trust the source, then I'm wrong about the toning... but still believe that contests, for the most part, favor the over-toned.
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Brian Blanco, Photographer
Tampa / Sarasota | FL | USA | Posted: 10:46 PM on 05.13.13
->> Hansen, if you're reading this, then I want you to know that I personally trust the source that has seen your RAW file enough that, by extension, I trust your frame too.

While I essentially defending you from what I saw as an unethical article linked above, I was, at the same time, likely too quick to assume that the odd look to the image was due to toning rather than the crazy things light can sometimes do.

I guess therein lies the problem: These contests accept so many questionable things that we're predisposed to assume the worst when something truly remarkable comes along. Good luck.

Respectfully,

-Blanco
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Chuck Liddy, Photographer, Photo Editor
PLANET | EARTH | | Posted: 12:41 AM on 05.14.13
->> I have said this once and I will say it again. Contests for photojournalism have become nothing but self-masturbatory. I trust BB. And I agree what he has said. That image no matter how it was "imaged" is a great moment. Unless something was moved, removed or staged it's a great photo. The ugly truth is people in this business are VERY jealous. They will cut out one of your kidneys if they think they can get an advantage...and heaven forbid if you beat them out in a contest....case in point...ten years ago I was President of the North Carolina Press Photographers Association....we had a photographer who year in and year out beat everyone's ass in our POY. his photos were that good. then I get a call from a disgruntled photographer who thought they should have won the NCPOY award....they accused the other photographer of manipulating images....this person had actually uploaded the photos and looked at them in photoshop. it turned out the POY winner HAD manipulated the photos. a LOT of photos. this guy had always over imaged (judges commented on that frequently, although they still awarded him) but most of the offending images had backgrounds deleted.....colors changed....yeah he was a serial manipulator. he ended up getting fired from his newspaper....but the point is....this didn't come from someone who was concerned about ethics....it came from a jealous photographer who was angry he got beat. a sad state of affairs ten years ago and a sad state of affairs now.
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Kent Nishimura, Student/Intern, Photographer
Honolulu | HI | USA | Posted: 12:44 AM on 05.14.13
->> +1 Blanco.
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Jacob Langston, Photographer
Orlando | FL | | Posted: 8:31 AM on 05.14.13
->> Here is Hansen's response:

http://www.huffingtonpost.co.uk/2013/05/14/world-press-photo-of-the-year-20...

I trust him, although the toning still makes me uncomfortable.
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Steve Ueckert, Photographer
Houston | TX | | Posted: 10:20 AM on 05.14.13
->> From World Press Photo, as of today:

http://www.worldpressphoto.org/news/reaction-following-discussions-about-wo...
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Jamey Price, Photographer, Assistant
Charlotte | NC | USA | Posted: 11:02 AM on 05.14.13
->> It is an AMAZING image. AMAZING moment. It is well worth an award. But compare the WP winning image to what a local staffer here in Charlotte did, and was subsequently fired over, and it suddenly appears over the top in the editing department.

http://txstatejournalismethics.blogspot.com/2008/11/patrick-schneider-where...

Still an amazing image.
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Jacob Langston, Photographer
Orlando | FL | | Posted: 11:17 AM on 05.14.13
->> I would say that Hansen just admitted that more than "very little toning done" was done. That is a pretty detailed toning job.

World Press seems to be approaching it correctly. If there is no wrongdoing, we move on. If there is, take action.

I would still prefer this image not to look like a movie poster. The other toned version that I have seen online is a better representation of what he captured.
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Robert Herrera, Photographer, Assistant
Lakeland | FL | United States | Posted: 1:39 PM on 05.14.13
->> Latest Update:

Digital Photography experts confirm integrity of Paul-Hansen's image files

http://www.worldpressphoto.org/news/digital-photography-experts-confirm-int...
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Jim Colburn, Photographer
Omaha | NE | USA | Posted: 2:06 PM on 05.14.13
->> http://www.news.com.au/technology/photographer-says-his-2013-world-press-ph...
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James Broome, Photographer
Tampa | FL | US | Posted: 2:49 PM on 05.14.13
->> Jamey - Comparing the Charlotte image to Hansen's is ludicrous.
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Alex Menendez, Photographer
Orlando | FL | USA | Posted: 4:11 PM on 05.14.13
->> Lots of apologies flying today......
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Michael McNamara, Photographer, Photo Editor
Phoenix | AZ | USA | Posted: 5:42 PM on 05.14.13
->> I wish WPP hadn't released the first statement. It was classless sounded like a rush to say something, in my opinion. They could have waited and then said "after scrutiny by two independent experts....." But the way they chose to handle it, Hansen was tainted by WPP before their official determination had been made.
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Scott Serio, Photo Editor, Photographer
Colora | MD | USA | Posted: 9:31 AM on 05.15.13
->> OK...the Huff Post article has Hansen's response. Can someone translate this for me?

-----Contest rules regarding photo manipulation state: “The content of the image must not be altered. Only retouching which conforms to the currently accepted standards in the industry is allowed.”

Hansen continued: "In the post-process toning and balancing of the uneven light in the alleyway, I developed the raw file with different density to use the natural light instead of dodging and burning. In effect to recreate what the eye sees and get a larger dynamic range.

"To put it simply, it's the same file - developed over itself - the same thing you did with negatives when you scanned them."-----

What is he saying? Seriously... What does the last part of that quote mean? Did he sandwich two RAW files into one? I am confused...or maybe the technology has passed me by...
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Matt Cashore, Photographer
South Bend | IN | USA | Posted: 11:39 AM on 05.15.13
->> Hansen's statement sounds--and the image (to me) looks--like a version of single-image HDR. Example here:

http://www.photographybay.com/2008/04/08/how-to-single-image-hdr/

Take the same RAW file, process it once for best highlights, once for best shadows, and using any of a gazillion methods to combine them, get a single image with that 'make you stop and look twice' dynamic range. In my experience and opinion, the WPPI version of the photo is *exactly* what you'd get if you did what I believe Paul Hansen describes.

And for those who care to re-visit without searching all the other threads on this image from back in February, here's the comparison of the image as it appeared in WPPI and as it supposedly appeared when originally published.

http://www.flickr.com/photos/gunthert/8485283411
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Armando Solares, Photographer
Englewood | FL | USA | Posted: 2:13 PM on 05.15.13
->> A two part solution to this problem, me thinks.
Enter photographs in all contests as you wish to tone them. But if your photograph wins, you will need to present the RAW or untouched image. And those should be published along with the winning version.

Or simply in photojournalism, only RAW or untouched images should be allowed to enter contests.
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Andrew Nelles, Photographer
Chicago | IL | usa | Posted: 2:16 PM on 05.15.13
->> Reminds me of split filter printing in the darkroom.
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Matt Cashore, Photographer
South Bend | IN | USA | Posted: 2:39 PM on 05.15.13
->> At the risk of the dreaded "off topic" here goes...

At one of my newspaper internships we had a Fuji film processor and those took a while to get up to working temp. My chief photog had been in the business for a long time and he had a nice stash of NPPA "Best of Photojournalism" books. So while I'd wait for the Fuji to warm up I'd thumb through those. Being able to see 20-ish years of newspaper photography contest winners at a glance showed some clear styles and fads that came and went in the photo world. It was screamingly clear that if you wanted to be in the BOP book in, say, 1978-82, you were going to burn the corners of your photos 'till they were darn near black. They were still outstanding moments expertly captured, but by our standards today, a little heavy on the drama as far as printing.

So 'hand-of-God' to win BOP in 1981, HDR(ish) to win WPPI in 2012. Paul Hansen knew his contest and did what was necessary to win it. It still took a hell of a job of journalism to make the photo in the first place.
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G.J. McCarthy, Photographer
Dallas | TX | US | Posted: 3:29 PM on 05.15.13
->> "It still took a hell of a job of journalism to make the photo in the first place."

That sentence right there, Matt -- that is, in my humble opinion, the only thing that really matters here.

Regardless of whatever kind of toning job Hansen did to the image, the actual content of it -- the moment, the framing, the true emotion of the photograph -- is as genuine as it gets.

End of story. Moving on ...
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Joe Ahlquist, Student/Intern
Winona | mn | USA | Posted: 3:48 PM on 05.15.13
->> +1 Gerry.
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Darin Sicurello, Photographer, Assistant
Gilbert | AZ | USA | Posted: 7:48 PM on 05.16.13
->> I was wondering if Paul decided to go Mono (B&W) via in Camera (settings) or in post would that be considered photo manipulation?
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Chuck Liddy, Photographer, Photo Editor
PLANET | EARTH | | Posted: 12:50 AM on 05.17.13
->> Darin, read Gerry 's post........15 times. Then read it again. Plain and simple it's a great photo. From everything I have read and seen the content of the photo was not altered ...sure in some folks minds its over imaged ....good god look at some of the entries in the monthly SS contest....it doesn't even compare to some of that nonsense. Again, the nature of contests......the sniping makes all of us look like whiny little kids.
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Scott Mapes, Photographer
Jackson | MI | USA | Posted: 10:45 AM on 05.17.13
->> +2 Gerry. I don't care what he did to the photo, it is one powerful image. Everyone is making a big deal about he did this or that to the photo. Myself, I look at the photo and see two young innocent children killed way too early in their life. Why? Because adults can't get along and want to kill each other and innocent children get caught in the cross-fire. Makes me hug my children a little tighter every day and appreciate the little things in life instead of worrying about what he may or may not have done in the processing of the photo. It's a winner in my book. Life is short, enjoy it.
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Jim Colburn, Photographer
Omaha | NE | USA | Posted: 12:43 PM on 05.17.13
->> Back in the days of B&W film and the printing of same you could use a multi-contrast paper. If you swapped the filters during printing you could have a Grade One paper in the highlights, a Grade Four paper in the shadows and print the mid-tones on Grade Two.

That seems to be, in a pixel kinda way, what Hansen may have done.
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Darin Sicurello, Photographer, Assistant
Gilbert | AZ | USA | Posted: 6:39 PM on 05.17.13
->> Chuck, I think it is great shot and Paul deserves all the credit. If a photographer chooses to go black & white, Is this an act of photo manipulation with the expectation(s) of a color photograph in today's digital medium?
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