A, unaltered and B, knowing it had been altered.
>> I have been exposed to in which manipulation and propaganda before.
But as a member of the public, I wouldn't say that I was more or
less offended by either photographs.
I think that it doesn't make a difference on whether
the man in the picture was naked or not, I think.
As long as the photograph gets the message across.
And obviously I don't think it's being respectful to
the Gentleman's family in either situation, so definitely an eye-opener.
>> Okay, so given the choice,
you would prefer not to see those images in the public domain.
>> I think as a member of the public,
I think it is important that we are given the chance to view things as they are.
And obviously in the UK we do have press freedom and we're very lucky to have that.
So I think that it's actually up to the publications to come up
with to decide whether that photograph can be exposed.
And whether it will become offensive to people.
I know that obviously photographs can make people react in many different ways and
there will be people that will be offended by something that perhaps I won't.
But I think as a general guideline, I do think that
it's important to publish photographs as long as they
abide to what the publication's conduct of ethic is.
>> Okay, that's great.
I think that's very revealing, but you prefer the information to be
in the public domain so long as it's working to a code that all can agree to.
>> Yeah.
>> You mentioned a little bit earlier, before we came into this room,
about the coverage of the Madrid bombing.
>> Yeah.
>> Now, talk us through your reactions to something which was very immediate,
and got blanket coverage at the time about what was shown and what was not shown.
>> I was very surprised by the Spanish media's take on the events.
Obviously, I think it was a bit of a controversial one whichever
way you look at it because they had very easy access to the crime scene.
I do think that perhaps they should have restricted what they published
only because obviously the images were quite horrendous.
At the same time, I do understand as a reporter, as a photo journalist,
if you're right there and then, and you're trying to do your job and
you're trying to report what was a massacre,
it's important to publish things that you feel comfortable with.
But looking back at what happened in London during the London bombings,
I know that, perhaps the UK media is much more conservative than the Spanish
media in that respect but I think they will also protected in a way because
they didn't have such a free access to what had happened because obviously it
happened on the round >> [INAUDIBLE] because I'm thinking
about the images of the bus, which had its rook torn off.
But that's all it's like an inanimate subject
to the explosion as opposed to seeing individuals or
the bodies of the deceased in the crisis.
Okay, thank you for that.
I'm interested.
You mentioned that in the context of your own work with the Fair Observer,
you're generally dealing with stock images.
What sort of decisions would you be making, or your editorial team be making,
about which images you select?
And do you consider where the images have originally come from?