Does Graphic War Photography Stir Emotions in Readers?

Bob Miller | for E&P Magazine

Your audience may not be as sensitive to graphic depictions of war as you assume.

This is the conclusion drawn by researchers who conducted a study on readers’ responses to images reflecting the realities of war.

Dr. Keith Greenwood, an associate professor at the University of Missouri, examined literature on the subject but sought a deeper understanding. He noted that editors and publishers within the media industry often opt for more cautious imagery to avoid unsettling their audience.

Editors usually decide based on their perceptions of what the audience might accept, largely influenced by their personal feelings; those they know or family members, yet no one, at least in my encounters, said, ‘Let’s consult news consumers to ascertain if that aligns with their views.’”

Pulitzer Prize-winning Photographer Lisa Krantz, now serving as an assistant professor at the University of Montana, chose photographs from the Ukraine conflict to display to participants. Krantz mentioned that the images originated from official channels, as well as those disseminated via social media. University of Missouri doctoral candidate and photojournalist Corey MacNeil contributed to the research.

The study encompassed 31 regular news consumers, which Greenwood acknowledged as a “somewhat limited group” but “not uncommon for this sort of methodology.”

Greenwood explained that the study’s participants were instructed to organize the photographs in an inverted pyramid style, arranging images they would most want to see published at the top and those they would least want to see at the bottom, with the center reflecting a wider range of neutral sentiments.

“Moreover, we questioned them more broadly about their views on the role of news organizations in imparting information concerning the realities of war,” he stated. “The participants exhibited a strong belief that news outlets should reveal the true nature of events; they acknowledged that fatalities occur in war and that chaos is an inherent aspect. It is permissible to depict that reality. While some participants were more inclined than others, they were generally open to viewing fairly graphic images and believed they should be published.

“However, they ultimately agreed on one point: ‘we don’t want to see graphic, violent images solely for sensationalistic appeal. We don’t wish to witness gore just for the sake of exposing gore.’ Yet, they did not object to viewing pictures of individuals who had sustained injuries or deceased bodies.”

Besides selecting images, Krantz also played a role in interviewing the study participants.

“One recurring theme among the subjects was their attraction to photographs showcasing resilience, and they seemed to favor images where those affected by the war were looking directly at the camera,” she noted. “They did not choose images that were merely graphic without context. They were engaged with the individuals in the photographs, considering their experiences and how their lives had been impacted. Those were the types of images they most desired to see published, which aligns with our goals as journalists and photojournalists … to create photographs that resonate emotionally and foster a connection with the audience, encouraging them to care about the story and the subjects depicted.”

Greenwood aspires for this study to be merely the beginning of a deeper investigation into readers’ sentiments.

“There are various avenues we could explore further,” he mentioned. “For instance, we might replicate this study using different kinds of graphic images to gather additional [feedback] — particularly if such events might unfold in your community, which could yield more insights. It could also serve as a launching point for a larger national survey, enabling us to engage with a significantly broader audience and collect data that represents a larger segment of the nation.”

Bob Miller has accumulated over 25 years of experience in local newsrooms, including 12 years as an executive editor with Rust Communications. Bob also produces an independent investigative podcast named The Lawless Files, focusing on true crime.