In his controversial book War is Beautiful, David Shields took aim at the New York Times. He wrote that the newspaper’s photographic coverage of the wars in Afghanistan and Iraq both “enchanted and infuriated” him, arguing that many of the photos aestheticised violence and distanced readers from the reality of the conflicts. “It seems like an institutional policy to choose pictures that you could hang on your living room wall,” Mr Shields wrote. “Journalism is supposed to afflict the comfortable and comfort the afflicted. The Times does neither.”
It is the role of photojournalists to document events, and to do so in a striking way; the New York Times is hardly alone in wanting to run arresting images on its front page. Bearing witness and creating something of aesthetic value are not mutually exclusive—as the work of Robert Capa and Tim Page proves—but a certain tension often exists between them. This tension has been highlighted by the World Press Photo Awards, which since 1955 have sought to prize images that apply “an outstanding level of visual perception and creativity” to “an issue, situation or event of great journalistic importanance”.
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